i 


MIXING  ALL  KNOWN  COLORS 


Water,  Oil  Paints  or  Printing  Inks 


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RESEARCH  LIBRARY 
THE  GETTY  RESEARCH  INSTITUTE 


JOHN  MOORE  ANDREAS  COLOR  CHEMISTRY  LIBRARY  FOUNDATION 


© Raymond  Pettibon 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/colormixingguideOOking 


PRIMARY  AND  SECONDARY  COLORS 
All  colors  in  this  “color  chart”  are  made  from 
the  primary  colors,  yellow,  red  and  blue. 


SECONDARY  AND  TERTIARY  COLORS 
Overlapping  plates  on  this  sheet  are  printed 
in  full  color.  Tints  are  avoided  in  order  to  show 
secondary  and  tertiary  colors  in  full  strength. 


To  lighten  secondary  or  tertiary  colors  add  more 
of  the  lightest  color  of  the  combination.  For 
example,  if  a lighter  shade  of  primary  green  is 
more  desirable,  use  more  yellow;  to  deepen,  add 
blue;  to  use  as  a tint,  add  white. 


The  above  plates  illustrate  the  primary  and 
secondary  colors  broken  up  with  light. 


Color  Mixing  Guide 


FOR 


ARTISTS,  PAINTERS,  DECORATORS, 
PRINTING  PRESSMEN, 

SHOW  CARD  WRITERS, 

SIGN  PAINTERS,  COLOR  MIXERS 


GIVES  COLOR  MIXTURES  BY  PARTS 


About  three  thousand  colors  and  shades  can  be 
made  from  yellow,  red,  blue,  black  and  white. 
This  little  Color  Mixing  Guide  is  worth  many 
dollars,  as  it  shows  you  exactly  how,  without 
waste  of  time  and  material. 


Compiled  by  John  L.  King 


NEW  YORK; 

J.  S.  OGILVIE  PUBLISHING  COMPANY 

57  ROSE  STREET 


NO  possession  can  surpass  or  even  equal 
a good  library  to  the  lover  of  books. 
Here  are  treasured  up  for  his  daily  use  and 
delectation  riches  which  increase  by  being 
consumed,  and  pleasures  which  never  cloy. 

JOHN  ALFRED  LANGFORD, 


Copyright,  1923, 

J.  S.  Ogilvis  Publishing  Co. 


THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


WHAT  IS  COLOR? 


Color  is  an  effect  caused  by  the  reflection  of  cer- 
tain rays  of  light.  In  order  to  understand  this 
statement,  it  is  necessary  that  we  know  what 
light  is.  Science  teaches  us  that  light  is  a form 
of  intense  vibration  which  reaches  the  earth  direct 
from  the  sun.  These  vibrations  affect  certain 
nerves  of  the  retina  of  the  eye,  causing  the  sensa- 
tion known  as  color. 

In  the  study  of  color,  or  in  practice,  it  is  neces- 
sary that  we  have  a standard.  The  standard  col- 
ors are  those  seen  in  the  spectrum  or  in  the  rain- 
bow. Those  colors  are  selected  as  standard  colors 
because  they  are  the  true  colors  as  reflected  by 
pure  light  and  they  never  change. 

In  dealing  with  pigments  the  primary  colors  are 
yellow,  red  and  blue.  They  are  called  primary 
colors  because  all  other  colors  are  produced  from 
them,  and  because  they  can  not  be  produced  by 
mixing  other  colors.  In  other  words,  they  are, 
the  original  colors  from  which  all  other  colors  are 
produced. 


WARM  AND  COLD  COLORS 
Cold  and  warm  colors:  Red  warm,  blue  cold, 

yellow  bright.  White,  which  is  also  a cold  color 
when  added  to  black  makes  a cold  gray.  Yellow 
added  to  red  forms  a warm  orange. 


MEANING  OF  COLORS 

White  is  said  to  mean  purity;  blue,  fidelity  or 
truth;  red,  love  or  sacrifice;  green,  envy;  pink, 
modesty;  violet,  innocence;  yellow,  jealousy; 
black,  sorrow  or  distress,  and  lavender,  passion. 

3 


ART  OF  COLOR  MIXING 

Mixing  colors  is  an  art  in  itself.  With  a com- 
bination of  the  chief  colors — red,  yellow,  blue 
(and  black  and  white),  thousands  of  shades  anc 
hues  may  be  produced. 

Mixed  in  various  proportions,  either  in  twos,  or 
all  three  together,  these  three  colors  produce 
every  hue  in  nature  or  in  art,  every  tint  that  is 
physically  possible. 

The  primary  colors  are  yellow,  red  and  blue. 

The  secondary  colors  are  orange,  violet  and 
green. 

The  tertiary  colors  are  citron,  russet  and  olive. 

The  secondary  colors  are  made  as  follows:  Yel- 
low and  red  make  orange,  red  and  blue  make  vio- 
let, yellow  and  blue  make  green. 

The  tertiary  colors  are  mixed  from  the  second- 
ary colors  as  follows:  Orange  and  violet  make 

russet,  violet  and  green  make  olive,  orange  and 
green  make  citron. 

Black,  white  and  gray  are  natural  tones  in 
which  no  color  is  apparent:  White  pales  but  does 
not  brighten  any  color.  Yellow  is  the  brighten- 
ing color  and  always  stands  out  strong  and  ad- 
vancing; to  deepen  a color  use  its  complementary 
color;  to  deepen  yellow  add  purple;  to  deepen  red 
add  blue;  to  deepen  blue  add  burnt  sienna,  then 
you  will  have  purity  of  color* 

THE  TWO  EXTREMES  OF  WARM  AND  COLD 

Vermilion  or  any  other  red  of  orange  hue 
(warm).  Bluish  blue  (cold).  These  two  colors 
mixed  together  in  certain  proportions  form  light 
brown,  dark  brown,  red  brown,  neutral  brown  and 
scarlet  red.  Purple  made  from  this  combination 
is  inferior. 


4 


COLOR  BLINDNESS 

Today,  color-blindness  is  a serious  difficulty  in 
the  way  of  a person  earning  a living.  A genera- 
tion or  so  ago,  it  was  considered  a matter  of  small 
importance.  Many  persons,  suffering  from  the 
disease,  went  through  life  without  knowing  they 
were  afflicted.  The  only  persons,  as  a class,  who 
were  greatly  affected  by  the  problem  were  rail- 
road men,  who  had  to  take  tests  for  the  distinc- 
tion of  colors. 

Today,  with  the  common  use  of  automobiles 
and  the  rapidly  growing  use  of  colored  lights  for 
signs  and  signals,  color-blindness  becomes  an  im- 
portant matter. 

The  defect  is  hereditary  and  much  more  com- 
mon in  men  than  in  women.  A woman  may  have 
normal  eyesight  herself  and  yet  transmit  the 
color-blindness  to  her  children.  This  is  because 
it  is  what  the  geneticist  calls  a recessive  char- 
acter. A man  may  have  a color-blind  father  and 
still  not  transmit  the  defect.  But  a color-blind 
woman,  married  to  a color-blinded  man,  trans- 
mits the  defect  to  all  offsprings,  both  sons  and 
daughters. 


ALTERING  COLOR 

To  brighten  color,  add  yellow;  to  give  it 
warmth,  add  red.  To  brighten  and  warm,  add  or- 
ange. To  deepen  and  cool,  add  blue.  To  cool  and 
lighten,  add  green;  to  deepen  and  warm,  add 
purple. 

Ultramarine  blue  contains  sulphur  and  will 
tarnish  with  admixtures  of  pigment  containing 
lead.  Substitute  zinc  white. 


PIGMENT 

Pigment  is  any  color  preparation  used  by  paint- 
ers, printing  pressmen,  etc.  Coloring  matter  is 
found  in  pigment  cells  of  plants,  tissues  of  ani- 
mals and  fish;  in  mineral  form  found  in  the  earth, 
from  coal,  vegetables,  etc. 

Pigments  may  be  divided  into  two  classes,  the 
organic  and  the  inorganic.  Organic  pigments  are 
compounds  of  carbon  and  the  inorganic  all  other 
pigments. 

Paints  and  printers’  inks  are  made  from  the 
same  pigments;  the  difference  is  in  the  mordant. 
It  all  depends  on  the  nature  of  the  object  to  be 
colored.  The  mordant  is  the  fixer  which  holds 
the  pigment. 

The  selection  of  color  material  should  be  care- 
fuly  made.  Purchase  from  reliable  dealers  an 
assortment  of  reds,  blues  and  yellows,  some  black 
and  white. 


NATURE’S  COLOR  CHART  OF  HAR- 
MONIOUS COMBINATIONS 

Nature  has  given  us  a wonderful  color  chart, 
of  harmonious  colors  mingled  together. 

Flowers  furnish  countless  color  combinations 
which  are  perfect  in  every  detail.  Colors  rang- 
ing from  soft,  delicate  tints  to  deep,  rich  solids, 
are  found  in  great  variety. 

Observe  also  the  birds,  whose  plumage  range 
from  the  most  gorgeous  to  the  so-called  jet  black 
raven  or  black  birds;  even  they  when  viewed  in 
sun  or  strong  light  reveal  a picture  of  dazzling 
beauty.  Beautiful  tones  and  semi-tones  of  pur- 
ple, green  and  blue  blending  perfectly  with  the 
black. 

It  is  unnecessary  to  mention  in  detail,  the 
fields,  woods  and  forest,  the  seas,  the  lofty,  state- 
ly mountain  peaks  of  somber  . hues  silhouetted 
against  an  azure  sky  or  viewed  in  the  setting  sun. 

6 


COLOR  HARMONY 

The  secret  of  harmony  is  equal  value,  comple- 
mentary colors  are  the  color  or  colors  which, 
with  any  color  or  colors  mentioned,  make  the 
three  primary  colors,  which  constitute  white 
light.  For  example  if  given  color  is  a primary, 
its  complementary  color  is  composed  of  the  other 
two  primary ‘colors;  the  complementary  color  of 
blue  is  orange,  red  and  yellow.  And  if  given 
color  be  a secondary,  its  complementary  color  is 
the  remaining  color.  Thus  the  complementary 
color  of  green,  blue  and  yellow  is  red. 

It  is  well  to  bear  in  mind  whether  the  sub- 
ject to  be  treated  is  a landscape  scene,  color  de- 
sign, form  to  be  printed  in  colors,  sign  or  house 
painting  that  equal  value  of  colors  is  the  correct 
way. 

Any  subject  that  has  been  ill  treated  with  too 
much  red,  or  colors  which  do  not  harmonize,  form 
a combination  that  irritates. 

When  colors  are  correctly  used  the  effect  is 
soothing.  Remember  that  red  is  the  most  irrita- 
ting color  and  a little  will  balance  well  with  a 
large  amount  of  other  colors. 

The  object  to  be  painted  or  printed  has  a lot 
to  do  with  the  selection  of  colors.  It  is  well 
to  study  the  subject  carefully. 

Printing  pressmen  have  their  problems.  When 
printing  on  white  material  which  is  a neutral 
color  he  does  not  encounter  the  obstacles  as  when 
printing  colored  inks  on  colored  material. 

All  fine  pictorial  color  printing  is  executed  on 
white  material,  this  being  the  only  way  to  get 
pure  coloring,  as  it  is  generally  printed  with 
transparent  ink. 


7 


MIXING  TINTS 
Paints,  Inks,  Etc. 

Tint  mixing  is  both  interesting  and  profitable, 
but  in  order  to  obtain  the  best  results,  first-class 
materials  are  very  essential.  Great  care  should 
be  exercised  in  the  selection  of  this  material,  as 
the  product  of  one  manufacturer  often  varies,  as 
to  shade  with  that  of  another  manufacture,  there- 
fore it  is  well  for  the  color  mixer  to  make  it  a 
rule,  never  to  select  colors  promiscuously. 

With  the  following  colors  at  hand  all  known 
colors  may  be  obtained.  Lemon  yellow,  which  is 
of  greenish  hue;  yellow  of  orange  hue;  red  with 
orange  hue;  red  which  has  a bluish  cast.  Blue 
with  a reddish  tone,  also  blue  with  a leaning  to- 
ward green.  A liberal  supply  of  white  and  some 
black  which  does  not  contain  blue. 

To  produce  a pure  tint  you  must  first  produce 
a pure  base  of  the  primary  colors.  White,  which 
is  a neutral  color,  does  not  alter  the  original  hue, 
it  merely  pales.  In  making  pure  greens  from 
yellow  and  blue,  the  yellow  and  blue  should  con- 
tain none  of  the  primary  color  red;  use  a green- 
ish yellow  and  greenish  blue.  For  pure  orange 
use  a yellow  and  red  which  contain  none  of  the 
primary  blue;  the  yellow  must  be  of  reddish  hue, 
the  red  of  yellowish  cast.  Pure  violets  are  made 
with  bluish  reds  and  reddish  blues.  The  red  and 
blue  should  not  contain  any  of  the  primary;  color 
yellow. 

Gray  tint  is  white  with  black  in  various  pro- 
portions. Neutral  gray  must  be  mixed  from  a 
black  which  is  unadulterated  with  a mixture  of 
blue.  To  warm,  add  a touch  of  red;  to  cool,  add  a 
small  amount  of  blue.  The  object  in  making 
neutral  gray  as  above  mentioned  is  to  make  pos- 


8 


sible  a true  blending  with  other  colors.  For  ex- 
ample, a bluish  gray  is  desired,  add  blue  to  neu- 
tral gray  until  the  exact  shade  is  acquired;  for 
orange  gray  add  a touch  of  orange,  etc,  etc. 

Primary  colors  are  made  neutral  by  admixture, 
a medium  or  neutral  yellow  is  obtained  by  mixing 
lemon  yellow  with  orange  yellow.  The  greenish 
tinge  of  lemon  yellow  is  absorbed  by  the  reddish 
tinge  of  orange  yellow.  Neutral  red  and  blue  is 
made  in  the  same  manner;  likewise  the  blues. 

As  has  been  previously  mentioned,  white  when 
added  for  tinting  purposes  does  not  alter  the 
hues.  For  example,  the  result  of  adding  white 
in  any  quantity  to  purplish  red  is  a purplish  pink 
tint,  the  purple  hue  will  remain. 

When  warm  tints  are  desired  use  a warm  base. 
For  warm  pink  select  a red  of  orange  hue,  a cool 
pink  from  bluish  red,  a neutral  pink  must  be 
made  from  a neutral  base  which  is  the  result  of 
adding  primary  bluish  red  and  primary  yellowish 
red. 


TO  MATCH  SPECIAL  COLORS 

In  mixing  special  colors  or  shades  for  large 
jobs,  first  mix  a small  quantity,  write  down  exact 
proportions  either  by  weight  or  volume,  keep 
a record  for  future  reference. 

If  you  have  failed  to  keep  a record  and  have  a 
small  quantity  on  hand  and  wish  to  duplicate  it 
exactly,  put  a small  amount  on  a piece  of  white 
paper  and  after  mixing  a little  dribble  or  let  it 
string  across  the  original  sample  you  can  get  a 
perfect  match.  Still  another  way;  brush  a small 
quantity  on  a piece  of  tranparent  glass,  add  a 
like  amount  of  the  paint  you  mix  beside  it  and 
hold  to  the  light. 

To  match  a specimen  in  printing  ink;  mix  the 
color  (small  quantity),  ink  up  press,  pull  an  im- 
pression then  with  your  make  ready  knife  cut 
a small  hole  (any  shape)  in  the  most  solid  part 
of  print,  lay  this  over  a solid  part  of  sample. 


9 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Alumina — One  of  the  earths  containing  alum- 
inum. 


Aureolin  Yellow — A transparent,  delicate  me- 
dium yellow.  Is  a nitrate  of  cobalt. 


Amber — A mineralized  pale  yellow,  and  some- 
times reddish  or  brownish  resin  of  extinct  pine 
trees. 


Ambergris- — A morbid  secretion  of  the  sperma- 
ceti whale  of  solid  opaque  ash  color. 


Aniline — A substance  obtained  from  indigo  and 
benzole,  a product  of  coal  tar. 


Amaranth — The  unfading  flower  a color  in- 
clined to  purple. 


Antwerp  Blue — A transparent  color  lighter 
than  Prussian  blue;  splendid  to  mix  with  yellow 
for  greens  and  tints. 


Bronze  Blues — Made  by  mixtures  of  ferro  and 
ferricyanides  of  iron  and  potassium  or  sodium. 
Bronze  blue,  so  called  for  its  bronzy  effect.  It  is 
an  opaque,  deep  blue,  used  almost  exclusively  by 
printers. 


Bronzes — Are  pulverized  gold,  brass,  copper 
and  aluminum.  Can  be  dyed  with  aniline  colors 
such  as  violet,  green,  etc. 

Bone  Black — Made  by  charring  bones  which  are 
then  finely  ground.  Semi-transparent. 

Burnt  Sienna — Raw  sienna  when  burnt  yields 
a brownish  orange,  quite  transparent. 

Buttercup — Common  species  of  ranunculus, 
having  bright  yellow  cup-shaped  flowers. 


10 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Bistre  Brown— -Obtained  from  soot  of  wood 
fires.  A deep  citron  brown. 


Cerulean  Blue — A compound  of  oxides  of  tin 
and  cobalt.  Opaque,  azure  blue. 


Claret — A red  wine  color. 


Carmine — A very  deep  toned  crimson  red,  o 
the  lake  family. 


Cobalt — A mineral  of  grayish  color,  and  a metal 
obtained  from  it,  which  in  the  state  of  oxide  yields 
a permanent  blue  pigment. 

When  cobalt  blue  is  unobtainable  substitute 
ultramarine  blue. 


Cobalt  Blue — A deep,  rich,  transparent  blue  of 
violet  hue.  Is  often  substituted  for  ultramarine. 


Cobalt  Green — Semi-transparent  bluish  green. 
This  color  and  cobalt  blue  are  of  French  origin, 
and  the  process  of  manufacture  is  practically  the 
same. 


Cadmium — A metal  related  to  zinc;  produces  a 
bright  semi-transparent  yellow  or  orange  hue. 


Chrome  Yellows — Made  by  precipitation  of  po- 
tassium bichromate,  with  lead  acetate,  varying  in 
shade  from  pale  yellow  to  deep  orange.  They 
are  opaque,  and  of  good  covering  strength. 


Chinese  White — A semi-transparent  white  of 
zinc  oxides,  equally  as  white  as  flake  white. 


Chrome — (Chromium).  A metal  which  produces 
many  colors  and  semi-colors.  Chrome  green  now 
takes  the  place  of  the  dangerous  arsenical  green 
pigment  that  was  formerly  used  in  printers’  ink, 
enamel  and  wall  paper. 


11 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Chrome  Greens — Are  a mixture  of  chrome  yel- 
low with  blue. 


Carbon  Black — Soot  formed  with  natural  gas 
and  forced  through  finely  woven  silk.  One  thou- 
sand cubic  feet  of  gas  being  required  to  obtain 
one  pound  of  black.  Opaque. 


Crimson  Lake — Transparent  red,  similar  to 
carmine,  but  less  scarlet. 


Cremnitz  White  Lead — An  opaque  white.  Made 
permanent  by  coating  with  varnish. 


Coal  Tar  Dyes — Are  derived  from  coal  tar  by 
distillation  and  other  chemical  processes. 


COCHINEAL 

Much  credit  is  due  the  cochineal  as  most  all  of 
our  brightest  reds  can  be  attributed  to  them. 

Scarlet  and  crimson  furnish  the  base  for  car- 
mine and  lake.  It  requires  seventy  thousand  dried 
bodies  of  this  small  insect  to  equal  one  pound  of 
color. 

The  task  of  gathering  cochineal  is  a tedious  one. 
They  are  gathered  by  gently  brushing  them  into 
cloth  sacks  with  brushes  made  of  fur  just  before 
egg  laying  time,  as  only  the  bodies  of  the  female 
can  be  used.  At  this  period  they  are  scarlet,  the 
brightest  of  all  reds.  Later  they  assume  a deeper 
cast  called  crimson, 


Dye  is  a colored  substance  which  can  be  made 
soluble  in  either  water  or  oil. 


Dragon’s  Blood — A resinous  substance  from  the 
East  Indies.  A dull  semi-transparent  red. 


Emerald — A stone  or  gem  of  bright  green. 


Fawn — Light  brown. 


12 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Flake  White — A carbonate  of  lead.  An  opaque 
fine  white. 


French  Blue — An  artificial  imitation  of  ultra- 
marine,  discovered  by  French  chemists  early  in 
the  nineteenth  century.  It  is  more  transparent 
than  the  original,  and  an  excellent  imitation. 


Gypsum — A mineral  found  in  a compact  state 
and  crystallized  state,  as  alabaster,  or  in  the  form 
of  soft,  chalky  stone  which  by  heat  becomes  the 
fine  white  powder  known  as  plaster  of  paris. 


Geranium  Lake — A bright  transparent  red  of 
bluish  hue,  also  of  yellowish  hue.  Should  not  be 
mixed  with  earth  pigments  such  as  raw  sienna, 
ochers,  umbers,  etc.  Geranium  lake  if  a coal  tar 
product  is  more  permanent  than  if  obtained  from 
other  sources. 


Gamboge — A gum  resin  from  trees,  native  of 
Ceylon.  Is  a bright  transparent  yellow  of  little 
depth. 


Gallstone — Rich  deep  toned  fugitive  yellow 
from  the  gall  bladder  of  oxen.  Yellow  carmine 
can  be  substituted. 


Heliotrope — Flower  of  a grayish  purple  color. 


Ivory  Black — A rich  transparent  black,  from 
charred  ivory. 


Indigo  Blue — Deep  blue  from  the  leaves  of  the 
Indigofera  plant  of  India. 


Intense  Blue — Purified  Indigo  blue. 

Indian  Yellow — Deposit  obtained  from  the  urine 
pf  the  cqmel.  A beautiful  yellow. 

13 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Indian  Red — An  earth  pigment  of  Bengal 
Ranges  in  color  from  a light,  bright  red  to  a 
dark  red  of  purplish  hue;  nearly  opaque;  mixes 
well  with  all  other  colors  except  indigo.  When 
genuine  Indian  red  and  indigo  come  into  contact 
with  one  another,  they  soon  assume  a faded  shade 
resembling  rust. 

Indian  red  substitute  may  be  mixed  with  in- 
digo substitute  in  safety;  tints  made  are  more 
permanent  than  obtained  from  the  originals. 


Lake  Colors — The  term  “lake”  as  applied  to 
color  pigments,  has  reference  to  the  method  of 
manufacture.  The  pigment  is  produced  by  the 
saturation  of  a base  with  a dye  in  it,  which  is 
then  ground  in  varnish. 

Avoid  mixing  lake  colors  with  raw  earthen 
pigments  if  permanency  is  desired. 


Lamp  Black — Is  made  by  burning  creosote  or 
tar  oil.  Opaque. 


Lacquer — A varnish  which  has  the  appearance 
of  enamel. 


Maroon — A brownish  crimson  or  claret  color. 


Mauve — A brilliant  red  violet,  of  the  lake 
group.  Also  of  a bluish  violet  hue.  The  most 
fugitive  of  all  colors. 


Marigold — Several  composite  plants  bearing 
golden-yellow  flowers. 


Magenta  is  a brilliant  blue-red  color  derived  from 
coal-tar. 


Madder  red  is  obtained  from  the  madder  plant 
roots,  a climbing  perennial. 


14 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Mastic — Resin  from  a tree  of  southern  Europe, 
yielding  a varnish. 


Mummy  Yellow — The  ancients  obtained  a dark 
yellow  pigment  by  grinding  mummified  human 
bodies. 


Naples  Yellow — A pale  semi-opaque,  straw  col- 
ored yellow. 


The  greenish  hue  of  Prussian  blue  may  be  neu- 
tralized with  a touch  of  crimson  lake. 


New  Blue — Pale  ultramarine. 


Prussian  Blue — Of  German  origin.  A deep 
blue,  possessing  a greenish  undertone.  A trans- 
parent and  good  covering  pigment. 


Pure  Scarlet — An  iodide  of  mercury.  More 
brilliant  than  vermilion  and  opaque. 


Pipsissewa — An  evergreen  plant  bearing  wax- 
en flesh-colored  flowers. 


Permalba  White — A fine  opaque  white  for 
artists,  etc.  Contains  neither  lead  or  zinc.  Can 
safely  be  mixed  with  ultramarine  and  all  other 
pigments.  A product  of  an  Amercan  manufac- 
turer. 


Red  Lead — Used  on  iron  prevents  rust.  Is  an 
inexpensive  product  of  lead,  largely  used  as  barn 
paint.  Possesses  good  covering  qualities. 


Rose  Madder  or  Madder  Lake — A beautiful 
transparent  rose  color  of  a clove  or  flesh  pink 
hue.  Alizarin,  a coal  tar  product,  now  affords  a 
better  substitute  than  the  original  pigment  ob- 
tained from  the  madder  plant. 


15 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Raw  Sienna — An  ocherous  transparent  earth 
pigment  of  orange-yellow,  from  Toscany. 


Saffron — A bulbous  plant,  the  stigmas  of  which 
are  used  as  a coloring.  Yields  an  orange  red  ex- 
tract. 


Some  blacks  are  precipitated  oxide  of  iron  and 
aniline  black  made  from  coal  tar  dye  with  the 
addition  of  blue  to  offset  the  natural  grayish 
cast. 


Spruce — A name  given  to  several  species  of 
pine  trees.  Shades  vary,  but  the  general  hue  is 
between  a light  yellowish  brown  and  yellowish 
orange. 


Sepia — A brown  substance  taken  from  the  sepia 
cuttle  fish.  This  dark  inky  substance  which  he 
emits  into  the  water  thoroughly  screens  him  from 
enemies. 


Scarlet  Lake — A transparent  red  of  scarlet  hue. 


Snuff  Brown — Pulverized  tobacco. 


Sienna — An  ocherous  earth.  Sienna  yields  an 
orange-yellow  tint;  burnt  sienna  a reddish  brown. 


Turquoise — A stone  or  gem  of  greenish  blue. 


Tantalum — A rare  metallic  element  obtained  as 
a black  powder  from  several  minerals. 


Imitation  Ultramarine  Blue — Is  made  by  heat- 
ing together,  China-clay  soda,  sulphur  and  char- 
coal. 


Umber — a soft  earthy  pigment  of  an  olive  brown 
color  in  the  raw  state ; burnt  umber  has  a reddish 
hue  and  oftimes  called  turkey  umber. 


16 


ORIGIN  AND  DEFINITION  OF  COLORS. 


Ultramarine  Blue — A rare  and  durable  sky  blue 
obtained  from  the  mineral  lapis-lazuli,  a stone 
found  in  Asia.  The  tedious  mechanical  process  of 
extracting  the  color,  makes  it  the  most  costly  of 
all  pigments. 


Ultramarine  Ash — Bluish  gray  of  azure  hue, 
residue  of  ultra-marine. 


Venetian  Red — A semi-transparent  bright  red 
with  little  orange. 


Vine  Blue — Is  made  from  charred  vine  twigs. 
Is  imitated  with  acetylene  gas. 


Vernis  Martin — French  name  for  imitation  of 
Chinese  and  Japanese  Lacquer,  which  resembles 
enamel.  Brought  to  perfection  by  the  Martin 
brothers  in  the  reign  of  Louis  XX  of  France. 


Vandyke  Brown — Prepared  from  a bituminous 
ochre.  A slow  drying,  rich,  semi-transparent 
brown,  so  named  in  honor  of  the  eminent  artist, 
Vandyke.  Very  sensitive  to  sunlight;  requires  a 
liberal  amount  of  japan  dryer. 


Vermilion  Red — A sulphide  of  mercury.  Varies 
in  hue  from  crimson  and  scarlet  to  deep  orange. 
Opaque. 


White  Lead — A hydrated  carbonate  of  lead,  ob- 
tained as  a dry  powder.  Opaque;  covers  well. 


Whitewash — A composition  of  lime  and  water, 
or  of  whiting. 


Yellow  Ochre — An  earth  pigment  varying  in 
color  from  a light  yellow  to  an  orange  brown; 
possesses  little  transparency. 


17 


COMPLEMENTARY  AND  HARMONIOUS 
COLOR  COMBINATIONS 


For  Painters,  Decorators,  Show  Card  Writers, 
Sign  Painters,  Art  Instructors,  Students, 
Printers,  Pressmen,  Etc. 
Complementary  color  combinations  may  be 
used  full  strength  or  as  soft  delicate  tints,  the 
hue  and  harmony  will  remain. 

Azure  Blue  with  very  light  gray. 

Azure  Blue  with  white. 

Amber  with  straw. 

Amber  with  cream. 

Amber  with  old  ivory. 

Blue  with  red. 

Brownish  Buff  with  old  ivory. 

Deep  Cream  or  Buff  with  ivory. 

Deep  Cream  with  light  sage  green. 

Green  with  red. 

Greenish  Blue  with  light  pinkish  gray. 

Gray  with  white. 

India  Tint  with  Persian  orange. 

Light  Olive  Green  with  ivory. 

Light  Brownish  Buff  with  cream. 

Light  Tan  with  straw. 

Light  Tan  with  old  ivory. 

Lavender  with  white. 

Lavender  with  gray. 

Lavender  with  old  gold. 

Lavender  with  old  ivory. 

Lavender  with  ivory. 

Lavender  with  cream. 

Lavender  with  straw. 

Lavender  with  pea  green. 

Lavender  with  regular  pink. 

Lavender  with  dull  pink. 

Lavender  with  purplish  pink. 

Lavender  with  orange. 

Lavender  with  golden  rod. 

Medium  Tan  with  light  brownish  buffo 
Medium  Blue  with  old  ivory. 


18 


COMPLEMENTARY  AND  HARMONIOUS 
COLOR  COMBINATIONS 


Medium  Blue  with  azure  blue. 
Old  Rose  with  old  ivory. 

Old  Rose  with  pearl  gray. 

Old  Rose  with  azure  blue. 

Old  Rose  with  light  ivory. 

Old  Rose  with  cream. 

Old  Rose  with  straw. 

Old  Rose  with  light  buff. 
Purple  with  red. 

Purple  with  green. 

Pearl  Gray  with  light  ivory. 
Red  with  blue. 

Sage  Green  with  light  ivory. 
Silk  Green  with  pale  lavender. 
Sea  Green  with  old  ivory. 

Tan  with  old  rose. 

Turquoise  Blue  with  lavender. 
Violet  with  orange. 

Violet  with  red. 

Violet  with  brown. 

Violet  with  pink. 

Violet  with  salmon. 

Violet  with  buff. 

Violet  with  white. 

Violet  with  amber. 

Violet  with  ivory. 

Violet  with  old  ivory. 

Violet  with  cream. 

Violet  with  straw. 

Violet  with  raw  sienna. 

Violet  with  burnt  sienna. 
Violet  with  white. 

Violet  with  gray. 

Violet  with  drab  gray. 

Violet  with  pink  gray. 

Violet  with  brown  gray. 
Violet  with  emerald  green. 
Violet  with  olive  green. 

Violet  with  sage  green. 

Violet  with  sea  green. 


19 


COMPLEMENTARY  AND  HARMONIOUS 
COLOR  COMBINATIONS 


Violet  with  apricot. 

Violet  with  cherry. 

Violet  with  scarlet. 

Violet  with  russett. 

Violet  with  old  gold. 

Violet  with  brass. 

Violet  with  silver. 

Violet  with  copper. 

Violet  with  bronze. 
Vermilion  with  sage  green. 
Yellow  with  purple. 

White  with  black. 

Yellow  with  green. 


20 


COLOR  MIXTURES  BY  PARTS 


Color  Desired  Parts 

Azure  Blue — 50  white;  1 ultramarine  blue. 

Brilliant — 4 Indian  red;  1 madder  lake. 

Blue  Gray — 100  white;  3 Prussian  blue;  1 black. 

Bright  Blue — 20  zinc  white;  1 cobalt  blue. 

Blue  Grass — 7 white;  2 Paris  green;  1 Prussian 
blue. 

Blue — 12  borate  of  lime;  6 oxide  of  zinc;  10  lith- 
arge; 9 feldspar;  4 oxide  of  cobalt. 

Blue  Black — 9 black;  4 Prussian  blue. 

Bronze  Green,  Light — 3 raw  turkey  umber;  1 
medium  chrome  yellow. 

Bronze  Green,  Medium — 5 medium  chrome  yellow; 
3 burnt  turkey  umber;  1 black. 

Bronze  Green,  Dark — 20  black;  2 medium  chrome 
yellow;  1 dark  orange  chrome. 

Bottle  Green — 5 medium  chrome  green;  1 black. 

Brown  Stone — 18  burnt  umber;  2 dark  golden 
ocher;  1 burnt  sienna. 

Cherry  Red — 50  vermilion;  50  No.  40  carmine. 

Coffee  Brown — 6 burnt  turkey  umber;  2 French 
ocher;  1 burnt  sienna. 

French  Blue — 5 cobalt  blue;  2 zinc  white. 

Flesh  Color — 19  French  ocher;  1 deep  English 
vermilion. 

Fern  Green — 5 lemon  chrome  yellow  and  1 each 
of  light  chrome,  green  and  black. 

Foliage  Green — 3 medium  chrome  yellow;  1 
brownish  black. 

Foliage  Brown — 50  Vandyke  brown;  50  orange 
chrome  yellow. 

Green  Blue — 100  white;  5 lemon  chrome  yellow; 
3 ultramarine  blue. 

Gold  Russet — 5 lemon  chrome  yellow;  1 light  Ve- 
netian red. 


21 


COLOR  MIXTURES  BY  PARTS 


Color  Desired  Parts 

Hazy  Blue — 60  white;  16  ultramarine  blue;  1 
burnt  sienna. 

Indian  Brown — 50  light  Indian  red;  50  French 
ocher;  50  black. 

Mahogany — 3 dark  golden  ocher;  1 dark  Venetian 
red. 

Maroon,  Light — 5 dark  Venetian  red;  1 black. 

Maroon,  Dark — 9 dark  Indian  red;  1 black. 

Mineral  Blue — 5 white;  4 cobalt  blue;  2 red  mad- 
der lake;  1 black. 

Olive  Green — 7 light  golden  ocher;  1 black. 

Orient  Blue — 25  white;  2 Prussian  blue;  1 lemon 
chrome  yellow. 

Ochrous  Olive — 9 French  ocher;  1 raw  umber. 

Orange  Brown — 50  burnt  sienna;  50  orange 
chrome  yellow. 

Oriental  Red — 2 light  Indian  red;  1 red  lead. 

Purple — 8 crocus  martis;  2 red  hematite;  1 oxide 
of  iron. 

Purple — 2 rose  pink;  1 ultramarine  blue. 

Purple,  Black — 3 black;  2 rose  pink. 

Purple,  Brown — 5 dark  Indian  red;  1 each  of  ul- 
tramarine blue  and  black. 

Roman  ocher — 23  parts  French  ocher;  1 each  of 
burnt  sienna  and  burnt  umber. 

Royal  Blue,  Dark — 18  ultramarine  blue;  2 Prus- 
sian blue;  to  lighten  use  white. 

Royal  Purple — 2 ultramarine  blue;  1 carmine  or 
lake. 

Russet — 14  orange  chrome  yellow;  1 medium 
chrome  green. 

Royal  Blue — 34  white;  19  ultramarine  blue;  2 
Prussian  blue;  1 rose  madder  or  rose  lake. 

Seal  Brown — 10  burnt  umber;  2 golden  ocher;  1 
burnt  sienna. 


22 


COLOR  MIXTURES  BY  PARTS 


Color  Desired  Parts 

Snuff  Brown — 50  burnt  umber;  50  light  golden 
ocher. 

Solid  Blue — 5 white;  1 ultramarine  blue. 

Sapphire  Blue — 2 zinc  white;  1 Chinese  blue. 

Terra  Cotta — 2 white;  1 burnt  sienna;  2 French 
ocher;  1 Venetian  red. 

Tuscan  Red — 9 Indian  red;  1 rose  pink. 

Turquoise  Blue — 20  white;  3 ultramarine  blue;  1 
lemon  chrome  yellow. 

Violet — 3 ultramarine  blue;  2 rose  lake;  1 black. 

Yellow — 41/£  parts  tin  ashes;  1 crude  antiomny;  1 
litherage  and  1 red  ocher. 

Yellow,  Amber — 10  medium  chrome  yellow;  7 
burnt  umber;  3 burnt  sienna. 

Yellow,  Canary — 5 white;  2 permanent  yellow;  1 
lemon  chrome  yellow. 

Yellow,  Golden — 10  lemon  chrome  yellow;  3 deep 
orange  chrome;  5 white. 

Yellow,  Brownstone — 3 white;  1 lemon  chrome 
yellow;  1 permanent  yellow. 


23 


TINT  MIXTURES  BY  PARTS 


Green  Tints 

Color  Desired  Parts 

Apple  Green — 50  white;  1 medium  chrome  green. 
Citron  Green — 100  white;  3 medium  chrome  yel- 
low; 1 black. 

Emerald  Green — 10  white;  1 Paris  (emerald) 
green. 

Grass  Green — 10  oxide  of  chrome;  2 tin  ashes;  5 
whiting;  1 crocus  martis;  1 bi-chromate 
potash. 

Gray  Green — 5 white;  1 Verona  green. 

Marine  Green — 10  white;  1 ultramarine  green. 
Nile  Green — 50  white;  6 medium  chrome  green; 
1 Prussian  blue. 

Olive  Green — 50  white;  2 medium  chrome  yellow; 
3 raw  umber;  1 black. 

Olive  Drab — 50  white;  8 raw  umber;  5 medium 
chrome  green;  1 black. 

Pea  Green — 50  white;  1 light  chrome  green. 
Satin  Green — 3 white;  1 Milori  green. 

Sage  Green — 100  white;  3 medium  chrome  green; 

1 raw  umber. 

Sea  Green — 50  white;  1 dark  chrome  green. 

Stone  Green — 25  white;  2 dark  chrome  green;  3 
raw  umber. 

Velvet  Green — 20  white;  7 medium  chrome  green; 
Violet — 3 ultramarine  blue;  2 rose  lake;  1 black. 

2 burnt  sienna. 

Water  Green — 15  white;  10  French  ocher;  1 dark 
chrome  green. 

Brown  Tints 

Chocolate — 25  white;  3 burnt  umber. 

Cinnamon — 10  white;  2 burnt  sienna;  1 French 
ocher. 

Cocoanut — 50  white;  50  burnt  umber. 


24 


TINT  MIXTURES  BY  PARTS 


Color  Desired  Parts 

Dark  Drab — 40  white;  1 burnt  umber. 

Dark  Stone — 20  white;  1 raw  umber. 

Fawn — 50  white;  3 burnt  umber;  2 French  ocher. 

Golden  Brown — 25  white;  4 French  ocher;  1 
burnt  sienna. 

Hazelnut  Brown — 20  white;  5 burnt  umber;  1 
medium  chrome  yellow. 

Mulberry — 10  manganese;  2 cobalt  blue;  2 salt- 
peter. 

Purple  Brown — 50  white;  6 Indian  red;  2 ultra- 
marine  blue;  1 black. 

Red  Brown — 12  hematite  ore;  3 manganese;  7 
litharge;  2 yellow  ocher. 

Seal  Brown — 30  white;  5 burnt  umber;  1 medium 
chrome  yellow. 

Snuff  Brown — 25  white;  1 burnt  umber;  1 Oxford 
ocher. 


Red  Tints 

Cardinal  Red — 50  white;  50  scarlet  lake. 

Carnation  Red — 15  white;  1 scarlet  lake. 

Claret — 21  oxide  of  zinc;  4 crocus  martis;  4 
oxide  of  chrome;  3 red  lead;  3 boracic  acid. 

Coral  Pink — 15  white;  2 bright  vermilion;  1 deep 
orange  chrome. 

Deep  Rose — 10  white;  1 red  lake. 

Deep  Purple — 5 white;  1 ultramarine  blue;  1 rose 
pink. 

Deep  Scarlet — 15  bright  vermilion;  2 red  lake;  5 
white. 

Flesh  Pink — 100  white;  1 orange  chrome  yellow; 
1 red  lake. 

Indian  Pink — 100  white;  1 light  Indian  red. 

Lavender — 50  white;  2 ultramarine  blue;  1 red 
lake. 

Light  Pink — 50  white;  1 bright  Vermillion. 


25 


TINT  MIXTURES  BY  PARTS 


Color  Desired  Parts 

Lilac — 50  white;  1 rose  pink. 

Mauve — 15  white;  2 ultramarine  blue;  1 carmine 
lake. 

Orange  Pink — 2 white;  1 dark  orange  chrome. 

Purple — 5 white;  2 ultramarine  blue;  1 red  mad- 
der lake. 

Royal  Pink — 5 white;  1 carmine  lake. 

Royal  Rose — 20  white;  1 rose  lake. 

Red  Brick — 10  white;  3 light  Venetian  red;  1 
yellow  ocher. 

Reddish  Terra  Cotta — 2 white;  1 burnt  sienna. 

Salmon — 50  white;  5 deep  orange  chrome. 

Shell  Pink — 50  white;  2 bright  vermilion;  1 
orange  chrome;  1 burnt  sienna. 

Violet — 15  white;  4 ultramarine  blue;  3 rose  lake; 
1 black. 


Gray  Tints 

Ash  Gray — 30  white;  2 ultramarine  blue;  1 burnt 
sienna. 

Cold  Gray — 500  white;  6 black;  1 Antwerp  blue. 

Dove  Color — 12  manganese;  5 steel  filings;  3 
whiting;  1 oxide  of  cobalt. 

Dove  Gray — 200  white;  5 ultramarine  blue;  2 
black. 

French  Gray — 150  white;  2 black;  1 orange 
chrome  yellow;  1 chrome  red. 

Lead  Color — 50  white;  1 black. 

Lustrous  Gray — 10  white;  1 graphite  (plum- 
bago). 

Olive  Gray — 200  white;  2 black;  1 medium  chrome 
green. 

Pure  Gray — 100  white;  1 black. 

Pearl  Gray — 100  white;  1 ultramarine  blue;  1 
black. 

Silver  Gray — 150  white;  2 black;  3 Oxford  ocher. 

Warm  Gray — 100  white;  3 black;  2 French  ocher; 
1 light  Venetian  red. 

26 


COLOR  MIXTURES 


COLORS  AS  SEEN  BY  INDIVIDUALS 

The  same  color  scheme  does  not  appeal  to  every 
one.  Persons  of  refined  temperament  are  best 
pleased  with  soft,  delicate  colors  and  shades. 

People  who  are  less  refined  admire  deeper  tones ; 
yet  want  absolute  harmony,  while  coarse  individ- 
uals are  satisfied  with  bright  gaudy  colors.  Color 
is  a sensation  produced  on  the  retina  of  the  eye, 
by  the  action  of  one  or  more  of  the  elements  of 
light.  Exact  proportion  by  parts  are  not  given 
in  the  following  in  order  to  let  you  be  the  judge 
of  the  exact  shade.  Follow  the  simple  rule  of 
using  a little  more  of  the  dark  colors  of  each 
color  combination  if  a deeper  shade  is  wanted  and 
vice  versa  for  a lighter  one. 

You  will  note  in  the  entire  list  of  color  mix- 
tures different  combinations  to  get  practically  the 
same  color,  scarcely  no  two  persons  view  the  same 
shade  alike. 

In  listing  different  mixtures  for  the  same  color 
you  have  a better  chance  of  using  up  some  of  the 
many  colors  that  would  otherwise  accumulate,  also 
giving  you  your  choice  of  the  color  that  is  bes: 
adapted  to  your  needs.  More  than  10,000  colors, 
hues  and  tints  can  be  obtained  from  this  Guide. 
Example  or  rule  for  obtaining  special  shades  such 
as  are  not  listed.  Look  through  the  list,  carefully 
select  the  combination  that  comes  nearest  to  your 
requirements.  If  the  listed  color  is  too  light  add 
more  of  the  darker  colors  or  if  too  dark  add  the 
lighter  colors. 


27 


COLOR  MIXTURES 


In  mixing  colors,  always  commence  with  the 
lighter  and  add  the  darker,  otherwise  you  will 
mix  a greater  quantity  than  desired.  In  this  list 
oi;  color  combinations  the  first  named  color  al- 
ways predominates;  the  others  are  named  in  the 
order  of  amount  needed.  Follow  this  rule  unless 
otherwise  instructed. 

Color  Desired  Parts 

Alderney  Brown — Deep  chrome  yellow  and  white, 
darkened  with  black. 

Amber— Equal  parts  burnt  sienna  and  burnt  um- 
ber ; warm  with  orange  and  tone  down  with 
black  and  white. 

Apricot — Warm  medium  yellow  with  Venetian  red 
or  vermilion  and  deepen  with  crimson. 

Ash  Gray — White,  tinged  with  black  and  softened 
with  ocher. 

Asiatic  Bronze — Is  raw  umber  lightened  with  yel- 
low and  white. 

Autumn  Green — Is  two  parts  emerald  green  and 
one  of  yellow  toned  down  with  a little  black. 
Azure  Blue — Like  sky  blue.  No  definite  proportion. 
One  part  cobalt,  prussian  or  ultra  blue  may 
be  added  to  about  forty  zinc  white. 

Acacia — Black,  indian  red,  and  a tinge  of  prussian 
blue. 

Acorn  Brown — Same  as  chocolate,  but  lighten  with 
white. 

Aidemey  Brown — Black,  orange  chrome  yellow, 
French  ocher  and  white. 

Amber  Brown — Burnt  sienna,  orange  chrome  yel- 
low, burnt  umber,  a touch  of  black,  and 
white. 

Ashes  of  roses — White  with  tints  of  black  and 
purple. 

Amaranth — Tuscan  red  and  vermilion  in  about 
equal  parts,  and  ultramarine  blue. 


28 


COLOR  MIXTURES 


Color  Desired  Parts 

Anemone — Vermilion,  Prussian  blue,  a little  white 
and  black. 

Alabaster — White  faintly  tinged  with  medium 
chrome  yellow. 

Apricot — Medium  chrome  yellow,  Venetian  red  and 
carmine. 

Armenian  Red — Venetian  red  and  French  ocher. 

Ash  Gray — White,  French  ocher,  orange  chrome 
yellow  and  a touch  of  Venetian  red. 

Asiatic  Bronze — Raw  umber,  medium  chrome  yel- 
low and  white. 

Autumn  Leaf — White,  French  ocher,  orange  chrome 
yellow  and  a touch  of  Venetian  red. 

Azure  Blue — White  and  Prussian  blue. 

Azure  Gray — White,  ultramarine  blue  tinted  with 
black. 

Bottle  Green — Dark  green  and  purple. 

Bronze  Green — Bronze  blue  and  yellow. 

Brown — Red  and  black. 

Brown  (red  hue) — Red,  blue  and  a small  amount 
of  black. 

Brown  (regular) — Medium  yellow,  red,  blue, 
toned  with  black. 

Buff — White,  dark  yellow  and  Venetian  red. 

Buff — Medium  yellow,  white  and  a touch  of  red. 

Buff — Orange  and  white. 

Buff — Orange  yellow  and  white.  For  deeper 
shades  add  brown  of  orange  hue. 

Begonia — Black,  scarlet  vermilion,  a touch  of  Prus- 
sian blue. 

Bismark  Brown — Burnt  sienna,  burnt  umber, 
orange  chrome  yellow  and  white. 

Bordeaux  Blue — Black  warmed  with  orange  and 
toned  down  with  prussian  blue. 


29 


COLOR  MIXTURES 


Color  Desired  Parts 

Black  Slate — Tone  black  with  Prussian  blue  and 
lighten  with  white. 

Biscuit  Color — Zinc  white  and  a little  Naples 
yellow. 

Buff — Yellow  and  white,  tinted  with  red. 

Black — Yellow,  red  and  blue. 

Black  Slate — Black,  Prussian  blue  and  white. 

Bordeaux  Blue — Black,  orange  chrome  yellow, 
Prussian  blue. 

Bottle  Green — Prussian  blue,  black  and  chrome 
yellow.  . 

Brass — White,  medium  chrome  yellow  and  French 
ocher. 

Bronze  Red — Vermilion,  orange  chrome  yellow, 
and  black. 

Brick  Color — Yellow  ocher  and  Venetian  red. 

Bronze  Green — Deep  chrome  green  and  black.  Or 
medium  chrome  green,  black  and  raw  umber. 

Bronze  Yellow — Medium  chrome  yellow,  raw  umber 
and  touch  of  white. 

Brown — Venetian  red,  yellow  ochre,  deepen  with 
black. 

Browns — Use  Venetian  red  for  base  and  add  French 
ocher  and  black  in  various  proportions  for 
different  shades  of  brown  wanted. 

Brown  Drab — Same  as  above  with  a little  white 
added. 

Buttercup — White  and  lemon  chrome  yellow. 

Cambridge  Red — Vermilion  and  Prussian  blue. 

Cafe  au  Lait  (Coffee  with  Milk  Color) — Burnt 
umber,  white,  French  ocher  and  Venetian  red. 

Carnation — English  vermilion,  madder  lake  (or 
carmine),  and  for  lighter  shades  add  zinc 
white. 

Cerulean  Blue — Zinz  white  and  ultramarine  blue. 
Cobalt  blue  is  better  but  not  so  common. 


30 


COLOR  MIXTURES 


Color  Desired  Parts 

Chamois — White,  French  ocher,  and  medium 
chrome  yellow. 

Chamoline — White  raw  sienna,  and  lemon  chrome 
yellow. 

Chartreeuse — Venetian  red,  medium  chrome  yellow, 
French  ocher  and  black. 

Chocolate — Burnt  umber  and  crimson  vermilion 
(or  madder  lake).  Or  French  ocher,  black, 
and  a little  Venetian  red. 

Chocolate — Brown,  red  and  black. 

Chocolate — Raw  umber,  red,  black. 

Claybank — French  ocher,  orange  chrome  yellow  and 
white. 

Clay  Drab — White,  medium  chrome  yellow,  raw 
and  burnt  sienna. 

Cinnamon — White,  burnt  sienna,  French  ocher  and 
medium  chrome  yellow. 

Cobalt  Blue — When  not  obtainable  as  a color  may 
be  mixed  ultramarine  blue  and  zinc  white. 

Coral  Pink — Vermilion,  white  and  medium  chrome 
yellow. 

Colonial  Yellow — White,  medium  chrome  yellow, 
and  a touch  of  orange  chrome  yellow. 

Chestnut — Red,  black  and  yellow. 

Chestnut — Yellow,  red,  toned  with  black. 

Claret — Madder  lake,  ultramarine  blue,  English 
vermilion  and  black. 

Claret — Red  and  Prussian  blue. 

Claret — Red,  umber,  black. 

Copper — Red,  yellow  and  black. 

Copper — Red,  yellow,  black. 

Cream — White  and  pale  yellow. 

Cobalt  Green — Zinc  yellow  and  ultramarine  blue 

Cobalt  Green — Cadmium  yellow  and  cobalt  blue. 

Claret — Red,  yellow,  black. 


31 


COLOR  MIXTURES 


Color  Desired  Parts 

Dark  Green — Blue,  lemon  and  black. 

Drab — White,  medium  yellow  and  black. 

Drab — White,  yellow  ocher,  red,  black. 

Drab — White,  yellow,  red. 

Drab — White  and  umber. 

Dark  Brown — Red,  black  and  blue. 

Deep  Blue — Black  and  blue. 

Deep  Lilac — Ultramarine  and  carmine. 

Dove — White,  ultramarine  blue,  indian  red  and 
black. 

Dove — White,  vermilion,  blue,  yellow. 

Dregs  of  Wine — Dark  tuscan  red,  black,  a touch  of 
zinc  white. 

Electric  Blue — Ultramarine  blue,  white  and  raw 
sienna. 

Ecru — White,  French  ocher,  burnt  sienna  and 
black.  Properly  this  color  is  that  of  raw,  un- 
bleached flax. 

Emerald — Pale  chrome  green,  and  a touch  of  Prus- 
sian blue.  Paris  green  is  a true  emerald 
green. 

Egyptian  Green — White,  raw  umber,  lemon  chrome 
yellow,  and  Prussian  blue. 

Fawn — White,  medium  yellow,  bright  red,  toned 
with  black. 

Fawn — White,  medium  chrome  yellow,  Venetian  red 
and  burnt  umber. 

Flesh  Color — White,  medium  chrome  yellow,  French 
ocher,  and  Venetian  red. 

Flesh — White,  yellow  ocher,  vermilion. 

Flesh — White,  lemon  yellow,  tone  with  lake  red 
or  other  bright  red. 

Flesh — Straw  and  carmine. 

French  Gray — White,  black,  a touch  of  ultramarine 
blue,  and  madder  lake. 


32 


COLOR  MIXTURES 


Color  Desired  Parts 

French  Gray — Purple,  tinted  with  black. 

French  Red — Indian  red,  English  vermilion,  with  a 
second  impression  of  madder  lake  over  the 
other  two  mixed. 

Fawn — White,  red,  yellow. 

Flesh — White,  lake  and  lemon  yellow. 

Gazelle — French  ocher,  dark  tuscan  red,  Venetian 
red,  black,  and  white. 

Geranium — Vermilion,  indian  red,  and  black. 

Gobelin  Blue — Black,  white,  Prussian  blue,  and 
medium  chrome  green. 

Gold — White,  medium  chrome  yellow,  French  ocher, 
a touch  of  English  vermilion. 

Golden  Brown — French  ocher,  orange  chrome  yel- 
low, black,  and  a touch  of  white. 

Gray  Green — White,  ultramarine  blue,  lemon 
chrome  yellow,  and  black. 

Grass  Green — Very  light  chrome  green.  It  is  im- 
proved by  a second  impression  of  emerald 
green. 

Green  Stone — White,  medium  chrome  green,  raw 
umber  and  French  ocher. 

Green  Bronze — Chrome  green,  yellow  and  a touch 
of  black. 

Green  (bright) — Lemon  yellow  and  greenish  blue. 

Green  (olive) — Medium  yellow  and  purple. 

Grass  Green — Lemon  yellow  with  chrome,  Ant- 
werp, milori  or  bronze  blue. 

Sea  Green  (neutral) — Prussian  blue  toned  with 
light  red. 

Deep  Green — Antwerp  blue  and  emerald  green. 

Iris  Leaf  Green — Light  chrome  yellow  and  me- 
dium chrome  green. 

Grays — White  and  black  in  various  proportions. 

Gray  Stone — White,  black,  Prussian  blue  and  Vene- 
tian red. 


33 


COLOR  MIXTURES 


Color  Desired  Parts 

Gray  Drabs — White,  black  and  a little  burnt  umber 
in  various  proportions,  according  to  shade 
wanted. 

Gray  (cold) — White  and  a little  black  tinted  with 
azure  blue. 

Gray  (sky) — White,  rose  madder  and  cobalt  or 
ultramarine  blue. 

Gray  (warm) — White  and  a little  black  tinted 
with  red  of  yellowish  hue  or  orange. 

Gray  (neutral) — White  and  black.  Black  not  to 
contain  any  blue. 

Cool  Gray — Antwerp  blue  toned  with  black. 

Warm  Gray — Burnt  sienna  toned  with  black. 

Warm  Gray  Tints — White  and  black  in  various 
proportions  warm  with  burnt  sienna. 

Gray  (cool) — Antwerp  blue  toned  with  black. 

Gray  (warm) — Burnt  sienna  toned  with  black. 

French  Gray — White,  Prussian  blue,  lake. 

Greens — Some  very  good  greens  are  made  from 
mixtures  of  yellows  and  Antwerp  blue. 

Green  Tints — White,  yellow  and  Antwerp  blue. 

Green  (dark) — Lemon  yellow,  Antwerp  blue,  tone 
with  black. 

Gold — White,  yellow  and  sienna. 

Gold — Yellow  ocher,  white,  tinted  with  red. 

Green — Yellow  and  black. 

Grass  Green — Lemon  yellow  and  bronze  blue. 

Hay  Color — White,  orange  chrome  yellow,  light 
chrome  green  and  indian  red. 

Heliotrope — Zinz  white,  Venetian  red  and  ultra  blue. 

Indian  Pink — White  and  indian  red. 

Indian  Brown — Indian  red,  black  and  French  ocher. 

Iron  Gray — Black,  white,  and  a touch  of  orange 
chrome. 

Indigo — Antwerp  blue  toned  with  black. 


34 


COLOR  MIXTURES 


Color  Desired  Parts 

Icy  Green — French  ocher,  black  and  Prussian  blue. 

Jasper — Black,  white,  medium  chrome  yellow  and 
indian  red. 

Jonquil — White,  medium  chrome  yellow  and  a touch 
of  English  vermilion. 

Lavender — White,  black,  ultramarine  blue  and  a 
touch  of  madder  lake. 

Lead  Color — White,  black  and  a touch  of  prussian 
blue. 

Leather — French  ocher,  burnt  umber.  For  marn 
tones  add  Venetian  red. 

Lemon — Is  afforded  by  lemon  chrome  yellow. 

Leaf  Buds — White,  orange  chrome  yellow  and  light 
green. 

Lilac — White  and  dark  indian  red. 

London  Smoke — Yellow  ocher,  ultramarine  blue, 
black,  white. 

Lavender — White  and  purple. 

Lavender — White,  red  and  blue. 

Limestone — White,  yellow  ocher,  tinted  with  black 
and  red. 

Lemon — Lemon  green,  toned  with  white. 

Lemon — Lemon  yellow,  white  and  a very  small 
quantity  of  chrome  green. 

Lemon  Tints — Add  white  to  lemon. 

Magenta — Lake  and  purple. 

Maroon — Medium  yellow  and  red  darkened  with 
black. 

Mauve — Yellow  ocher,  Venetian  red,  black  and 
white. 

Mastic — White,  French  ocher,  Venetian  red,  a touch 
of  black. 

Maroon — Carmine  (or  madder  lake),  black,  and  a 
little  orange  chrome  yellow.  Or  tuscan  red, 
orange  chrome  yellow  and  a touch  of  black. 


35 


COLOR  MIXTURES 


Color  Desired  Parts 

Manila — White,  medium  chrome  yellow  and  French 
ocher. 

Marigold — Medium  chrome  yellow,  white  and 
orange  yellow. 

Mignonette — Medium  chrome  green,  Prussian  blue, 
medium  chrome  yellow  and  black. 

Moorish  Red — Vermilion  and  madder  lake. 

Mouse  Color — White,  black  and  a touch  of  Venetian 
red  and  burnt  umber. 

Moss  Rose — Lemon  chrome  yellow,  medium  chrome 
green  and  white. 

Mulberry — Black,  vermilion  and  a touch  of  Prus- 
sian blue. 

Myrtle  Green — Dark  chrome  green,  ultramarine 
blue  and  white. 

Nile  Blue — White,  Prussian  blue  and  a touch  of 
medium  chrome  green. 

Normandy  Blue — Medium  chrome  green,  ultrama- 
rine blue  and  a touch  of  white. 

Nut  Brown — Black,  Venetian  red,  medium  chrome 
yellow  and  French  ocher. 

Neutral  Tint — White,  alizarin  red  and  indigo 
toned  with  black. 

Orange  (neutral) — Cadmium  yellow  and  Venetian 
red. 

Olive — Yellow  and  a small  amount  of  black. 

Olive — Yellow,  white,  blue  and  black. 

Olive — Gray,  yellow  and  blue. 

Orange — Red  and  yellow. 

Old  Gold — White,  medium  chrome  yellow,  French 
ocher  and  a little  burnt  umber. 

Olive  Brown — Raw  umber  and  lemon  chrome  yellow, 

Olive — Lemon  chrome  yellow,  Prussian  blue  and 
black ; about  equal  parts  of  the  latter.  An- 
other olive,  less  bright,  is  made  with  French 
ocher,  Prussian  blue  and  black. 


36 


COLOR  MIXTURES 


Color  Desired  Parts 

Dak  Color — White,  French  ocher  and  a little  Vene- 
tian red. 

Orange — Is  orange  chrome  yellow. 

Orange  Brown — Orange  chrome  yellow,  raw  sienna 
and  a touch  of  burnt  umber. 

Oriental  Green — Raw  umber  and  lemon  cnrome 
yellow. 

Opal  Gray — White,  burnt  sienna  and  ultramarine 
blue. 

Olive  Green — Medium  yellow  and  purple. 

Pearl — White,  ultramarine  blue  and  black. 

Pink — White  and  lake. 

Purple — Blue  and  lake. 

Peach  Blossoms — White,  pale  indian  red  and  a 
touch  of  madder  lake. 

Pearl — White,  black  and  a touch  of  ultramarine 
and  carmine. 

Pea  Green — White  and  medium  chrome  green. 

Peacock  Blue — Ultramarine  blue,  light  chrome 
green  and  zinc  white. 

Peach — White,  vermilion. 

Pink — White,  vermilion  and  lake. 

Pink — White  and  carmine. 

Purple  (pure) — Mix  together  red  with  bluish  cast 
and  blue  of  reddish  hue. 

Purple  (light) — Violet,  red  with  a bluish  cast  and 
white. 

Purple  (deep)  —Violet,  red  with  a bluish  cast, 
deepen  with  black. 

Purple — Rose  madder  and  ultramarine  blue. 

Purple — Rose  madder  and  cobalt  blue. 

Purple — Lake  red  and  ultramarine  blue. 

Persian  Orange — Orange  chrome  yellow,  French 
ocher,  white. 

Pink — Zinc  white  and  either  madder  lake,  carmine 
or  crimson  vermilion. 


37 


COLOR  MIXTURES 


Color  Desired  Parts 

Pompeian  Red — Vermilion,  orange  chrome  yellow 
and  black. 

Pompeian  Blue — White,  ultramarine  blue,  vermilion 
and  French  ocher. 

Plum  Color — White,  indian  red  and  ultramarine 
blue. 

Portland  Stone — French  ocher,  raw  umber  and 
white.  , 

Pisache  (Pistachio) — Black,  French  ocher  and  me- 
dium chrome  green. 

Primrose — White  and  lemon  or  medium  chrome 
yellow. 

Purple  Brown — Dark  indian  red,  ultramarine  blue 
and  a touch  of  black  and  white. 

Pea  Green — White  and  pale  green. 

Quaker  Green — White,  French  ocher,  black  and 
burnt  sienna. 

Russet — Orange,  lake  and  purple. 

Roan — Black,  Venetian  red,  Prussian  blue  and 
white. 

Robin’s  Egg  Blue — White,  ultra  blue  and  pale 
chrome  green. 

Russet — White,  orange  chrome  yellow  and  a touch 
of  black. 

Russian  Gray — White,  ultra  blue,  light  indian  red 
and  black. 

Rose  Tint — White  and  madder. 

Rose — White  tinted  with  lake  red. 

Rose  Tint — White  and  madder,  tinted  with  lake. 

Royal  Purple — Carmine,  cobalt  blue  and  white. 

Scarlet  Lake — Crimson  lake  and  pale  vermilion. 

Sepia  (warm) — Sepia  and  browns  of  reddish  hue. 

Sepia — Burnt  umber  and  lamp  black. 

Sienna  (burnt) — Same  as  raw  sienna  but  add 
more  yellow  and  red. 

Sienna  (raw) — Medium  yellow,  white  and  a little 
red. 

Scarlet — Vermilion,  yellow  and  a touch  of  white. 

Sandstone — White,  yellow  ochre,  black,  red. 

Snuff — Yellow  and  Vandyke  brown. 

Sky  Blue — White  and  milori  blue. 


38 


COLOR  MIXTURES 


Color  Desired  Parts 

Shell  Pink — Chrome  yellow  and  vermilion,  tinted 
with  burnt  sienna. 

Straw — White  and  chrome  yellow. 

Spruce — Yellow,  vermilion,  green  and  white. 

Silver  Gray — Indigo  and  lamp  black. 

Slate — White,  raw  umber,  ultra  blue  and  black. 

Sea  Foam — White,  green  and  yellow. 

Shrimp  Pink — White,  vermilion,  black  and  burnt 
sienna. 

Sage  Green — White,  medium  chrome  green  and 
black. 

Salmon — White,  French  ocher,  burnt  sienna  and  a 
touch  of  vermilion. 

Sapphire  Blue — Zinc  white  and  ultramarine  blue. 

Sap  Green — White,  medium  chrome  yellow  and 
black. 

Sea  Green — White,  Prussian  blue  and  raw  sienna. 

Seal  Brown — Burnt  umber,  French  ocher  and  a 
touch  of  white. 

Scarlet — Use  pale  English  vermilion  or  scarlet  ver- 
milion. 

Shrimp  Pink — White,  Venetian  red,  burnt  sienna 
and  a touch  of  vermilion. 

Sky  Blue — White  and  Prussian  blue. 

Sky  Blue — White  and  ultramarine  blue. 

Salmon — Red,  yellow  and  sienna. 

Sienna — Medium  yellow,  red  and  white. 

Slate — Ultramarine  blue,  black  and  white. 

Snuff — White  and  umber. 

Straw — White  and  yellow. 

Slate — White,  raw  umber,  ultramarine  blue,  black. 

Spruce  Yellow — French  ocher,  Venetian  red  and 
white. 

Snuff  Color — French  ocher,  burnt  umber  and  a 
touch  of  Venetian  red. 

Straw  Color — Medium  chrome  yellow,  French  ocher, 
a touch  of  Venetian  red  and  lighten  with 
white. 

Stone  Color — White,  French  ocher  and  of  medium 
chrome  yellow  and  burnt  umber. 

Tan — White  burnt  sienna  and  a touch  of  black. 


39 


COLOR  MIXTURES 


Color  Desired  Parts 

Tan — Yellow,  burnt  umber  and  burnt  sienna. 

Tally-Ho — White,  French  ocher,  Venetian  red,  and 
dark  chrome  green  and  touch  of  black. 

Terra  Cotta — French  ocher,  Venetian  red,  and 
white,  indian  red  is  added  for  some  shades. 
Still  other  shades  are  made  with  orange 
yellow,  Venetian  red  and  a touch  of  burnt 
umber. 

Turkey  Red — Vermilion  and  black. 

Turquoise — White,  cobalt  blue  and  green  lake. 

Turquoise  Blue — Zinc  white,  cobalt  blue  and  light 
chrome  green. 

Umber — White,  yellow,  red  and  black. 

Velvet  Green — Burnt  sienna,  green  lake  and 
white. 

Vermilion — An  orange  red,  to  lighten  add  yellow, 
to  deepen  add  burnt  sienna. 

Vienna  Brown — Burnt  umber,  Venetian  red,  French 
ocher,  and  a touch  of  white. 

Violet — White,  light  indian  red  and  a touch  of 
dark  indian  red. 

Violet — White,  blue  and  red. 

Violet — Crimson  lake  and  Antwerp  blue. 

Violet — Red,  blue,  white. 

Violet — Lake  and  ultramarine  blue. 

Violet  Tint — Lake,  ultramarine  blue,  white  in  va- 
rious proportions. 

Violet — Crimson  lake  and  Antwerp  blue  in  vari- 
ous proportions. 

Willow  Green — White,  medium  chrome  yellow  and 
a little  raw  umber  and  black. 

Wine  Color — English  vermilion  (or  scarlet  ver- 
milion), madder  lake  (or  carmine),  ultra- 
marine  blue  and  black.  Or  tuscan  red  and  a 
little  black. 

Water  Green — White,  raw  sienna,  dark  chrome 
green. 

Yellow  Bronze — Lemon  or  medium  chrome  yellow, 
French  ocher  and  a touch  of  burnt  umber. 

Yellow  Drabs — Same  as  the  preceding,  in  various 
proportions. 


40 


COLOR  MIXTURES  BY  PARTS 


In  this  list  where  green  is  mentioned,  “Univer- 
sal” regular  green  is  referred  to.  The  yellow  to 
be  used  can  be  chrome-yellow  for  a darker  shade, 
or  lemon-yellow  for  a lighter  shade,  although 
lemon-yellow  is  to  be  preferred. 

GREENS  BY  TWO-COLOR  MIXTURE 
Color  Desired 


Bronze- green 2 

Bright  green 1 

Brilliant  green 1 

Blue  green 2 

Dark  green 2 

Dark  green  medium.  1 

Emerald  green 1 

Green-black,  dark. . . 1 
Green-black,  light.  . 5 

Green  tint 2 

Grass-green 1 

Japanese  green 20 

Light  green 1 

Olive  green 1 

Olive  green,  light.  . . 4 
Olive  green,  dark.  . . 4 

Orange-green 1 

Sea-green 1 

Sage  green 4 

Universal  green....  1 
Yellow- green 1 


Parts 

bronze-blue,  3 yellow, 
deep  blue,  5 yellow, 
green,  4 yellow, 
blue,  4 green, 
blue,  1 yellow, 
blue,  1 yellow, 
green,  3 white, 
blue-green,  3 black, 
blue-green,  1 black, 
bright  green,  30  white, 
bronze-green,  1 bright 
green. 

emerald-green,  1 black, 
green,  1 yellow, 
blue,  4 orange, 
yellow,  1 black, 
yellow,  2 black, 
deep  blue,  60  yellow, 
blue,  3 green, 
green-black,  6 white, 
blue,  4 yellow, 
deep  blue,  100  yellow. 


GOOD  GREENS 

Some  very  fine  greens  can  be  made  with  lemon 
yellow  and  Antwerp  blue  in  various  proportions. 
Can  be  toned  or  deepened  with  black. 


41 


COLOR  MIXTURES  BY  PARTS 


BROWNS  BY  TWO-COLOR  MIXTURE 
With  the  browns,  lemon-yellow  is  best.  The 


red  can  be  a color  like  brilliant  scarlet,  flag-red 
or  scarlet  lake. 

Color  Desired  Parts 

Brown-tint 1 red-brown,  40  white. 

Brown-black 1 red,  1 black. 

Bronze-brown 2 bronze-red,  1 bronze  blue 

Chocolate  brown. ...  12  red,  2 deep  blue. 

Copper-brown 15  vermillion,  1 black. 

Green-brown  2 red,  4 green. 

Maroon-brown  .....  15  red,  2 black. 

Photo-brown 1 vermillion,  1 black. 

Purple-brown  6 red,  1 deep  blue. 

Red-brown 12  red,  1 black. 

Sepia-brown  20  orange,  1 black. 

Snuff-brown 8 vermillion,  1 deep  blue. 

Tan-brown 2 yellow,  1 purple. 

Yellow-brown 4 yellow,  3 red-brown. 

Yellow-brown  tint.  . 1 yellow-brown,  30  white. 

GRAYS  BY  TWO-COLOR  MIXTURE 
Color  Desired  Parts 

Blue- gray 2 regular  gray,  1 blue. 

Dark  gray 12  white,  2 black. 

Drab-gray 15  regular  gray,  1 orange. 

Green-gray 6 regular  gray,  1 green. 

Lead-gray  15  regular  gray,  1 deep  blue. 

Light  gray 20  white,  1 black. 

Purple- gray 8 regular  gray,  1 purple. 

Pink  gray 12  light  gray,  1 red. 

Regular  gray 12  white,  1 black. 

Red- gray,  light 6 regular  gray,  1 red. 

Red-gray,  dark 15  regular  gray,  2 red. 

Warm  gray 10  regular  gray,  1 vermillion. 

Yellow- gray 8 regular  gray,  1 yellow. 


42 


COLOR  MIXTURES 


PURPLE  BY  TWO  MIXTURES 


Color  Desired  Parts 

Bright  violet 1 purple,  1 blue. 

Light  purple 1 purple,  1 white. 

Regular  purple 10  rose-lake,  1 blue. 

Scarlet  purple 15  rose-lake,  1 blue. 

Typewriter  purple. . . 1 purple,  4 white. 

Violet 4 rose-lake,  1 ultramarine 


MISCELLANEOUS 

All  colors  in  the  left-hand  column  of  the  follow- 
ing are  the  base  upon  which  to  work.  By  adding 
white  to  them  you  form  the  colors  given  in  middle 
column,  but  when  black  is  substituted  for  white 
you  obtain  the  colors  given  in  the  right-hand  col- 
umn. Example : Add  white  to  “any  lake  red”  for 
pink ; add  black  to  “any  lake  red”  for  maroon. 


Base 

Result  of  Adding 
White 

Result  or  Adding 
Black 

Any  lake  red 

Pink 

Maroon 

Vermilion 

Yellowish  Pink 

Russet 

Scarlet 

Salmon  Buff 

Brown 

Orange- red 

Yel.  sal.  buff 

Yellow-brown 

Orange 

Salmon 

Terra  Cotta 

Yellow-orange 

Amber 

Yel.  terra  cotta 

Orange-yellow 

Cream 

Old  Gold 

Yellow 

Lemon  or  Sulphur 

Citrine 

Yellow- green 

Straw 

Olive 

Emerald  green 

Pea  green 

Sage 

Bluish  green 

Sea  green 

Myrtle 

Turquoise 

Pale  turquoise 

Dull  Indigo 

Ultramarine 

Azure 

Blue  Slate 

43 


COLOR  MIXTURES  BY  PARTS 


MISCELLANEOUS 

Color  Desired  Parts 

Azure  Blue 1 ultramarine,  40  white. 

Antwerp  Blue 4 emerald  green,  8 ultra- 

marine,  1 white. 

Autumn  Leaf 20  straw,  2 orange,  1 Vene- 

tian red. 

Autumn  Gray 20  emerald  green,  10  yellow, 

1 black. 

Apple  Green 4 orange,  9 chrome  green, 

1 white. 

Ash  Gray 2 burnt  sienna,  3 ultrama- 

rine blue,  70  white. 

Amber 4 burnt  sienna,  4 burnt  um- 

ber, 2 orange,  tinged  with 
black  and  white. 

Apricot 30  chrome  yellow,  2 vermil- 

ion, 1 crimson. 

Alabastar 1 chrome  yellow,  4 white. 

Amaranth 4 Tuscan  red,  4 Vermillion, 

1 ultramarine. 

Anemone 6 English  vermilion,  6 deep 

bronze  blue,  2 black,  1 
white. 

Amaranth 3 English  vermilion,  1 deep 

bronze  blue. 

Armenian  Red 2 Venetian  red,  1 ocher. 

Ash  Gray 60  zinc  white,  3 ultra  blue,  2 

burnt  sienna. 

Antique  Bronze 3 black,  1 orange. 

Apple  Green 30  white,  1 chrome  green. 

44 


COLOR  MIXTURES  BY  PARTS 


MISCELLANEOUS 


Color  Desired  Parts 

Blue  Grass 1 Prussian  blue,  3 emerald 

green,  7 white. 

Bordeaux  Blue 3 orange,  1 black,  6 Prus- 

sian blue. 

Begonia 5 English  vermilion,  4 black, 

4 Prussian  blue. 

Biscuit  color 20  white,  1 Naples  yellow. 

Bismark  Brown. ...  20  burnt  sienna,  20  umber,  2 
orange,  1 white. 

Blood  Red English  vermilion,  tinged 

with  blue  and  yellow. 

Blue  Green 3 chrome  green,  1 Prussian 

blue 

Blue  Grass. 1 Prussian  blue,  3 emerald 

green. 

Bluish  Gray 6 regular  gray,  1 dark  blue. 

Purple-Brown 6 deep  red,  1 purple. 

Brown-Black 2 bluish  red,  5 black. 

Photo-Brown 4 bluish  red,  1 brown  black. 

Maroon-Brown 8 bluish  red,  1 blue. 

Bay 3 Venetian  red,  3 black,  1 

orange. 

Chocolate-Brown ....  12  deep  red,  2 deep  blue  tinted 

with  black. 

Milk  Chocolate 12  deep  red,  2 deep  blue,  1 

white  tinted  with  black. 

Chestnut  Brown. . . 3 Venetian  red,  3 black, 

toned  down  with  orange. 

J\4aroon;  deep 5 black,  3 red,  1 Prussian  blue 


45 


COLOR  MIXTURES  BY  PARTS 


MISCELLANEOUS 
Color  Desired  Parts 

Cologne 2 parts  of  yellow  chromate 

of  lead,  1 of  sulphate  of 
lead,  and  7 of  Sulphate  of 
lime  or  gypsum. 

Citron 2 yellow,  1 red,  1 blue. 

Crimson  Red 30  bright  red,  1 blue. 

Campanula 3 blue,  1 red. 

Citron 2 yellow,  1 red,  1 blue. 

Garnet 3 red,  1 blue. 

Greenish  Gray 8 regular  gray,  1 medium 

green. 

Green  Tint 1 light  green,  15  white. 

Nasturtium 3 red,  1 chrome  yellow. 

Olive 2 blue,  1 red,  1 yellow. 

Olive 2 blue,  1 red,  1 yellow. 

Purple  tint 1 purple,  50  white. 

Russet 2 red,  1 blue,  1 yellow. 

Sulphur 30  yellow,  1 blue. 

Sea  Green 1 medium  green,  3 whitr 

Saffron 3 chrome  yellow,  1 red. 

Sky  Blue 99  white,  1 Prussian  blue. 

Sky  Blue 99  white,  1 ultramarine 

blue. 

Turquoise 3 blue  green,  1 white. 

Violet-blue 10  violet,  1 blue. 

Violet  tint 1 violet,  30  white. 


46 


HINTS  FOR  PAINTERS  AND  DECORATORS 


A house  painted  white  not  only  looks  cool,  but  is 
cool,  as  white  reflects  the  sun’s  rays.  The  effect 
at  night  is  reversed. 

The  amount  of  trimming  color  necessary  is 
usually  about  one-fifth  of  that  required  for  the 
entire  surface. 


Do  not  paint  damp  or  unseasoned,  sappy  or 
pitchy  wood. 

Do  not  paint  or  paper  walls  having  a northern 
exposure  with  cold  color  such  as  blue,  gray  or 
white.  Use  warm  tones  like  rose,  tan,  etc.  And 
in  like  manner  better  results  are  obtained  by 
using  the  cold  shades  or  colors  in  rooms  with  a 
southern  exposure. 

COVERING  CAPACITY  OF  VARNISH 

One  gallon  of  varnish  will  cover  approximately 
300  square  feet,  two  coats  when  properly 
flowed  on. 

Varnish  is  transparent  and  therefore  cannot 
hide  any  defects  in  a surface.  If  the  surface  is 
badly  marred,  use  graining  materials.  Or  cover 
up  the  old  surface  with  a suitable  paint  or 
enamel. 


NEW  WOOD. — Before  varnishing  new  open 
grained  wood  such  as  oak,  ash  and  mahogany,  it 
is  necessary  to  fill  the  pores  with  a good  filler. 
Some  prefer  it  in  paste  form.  This  is  not  abso 
lutely  necessary  for  close-grained  woods  such  as 
maple,  pine  and  birch. 


Paint  for  general  purpose  is  composed  of  lead, 
zinc,  linseed  oil  and  turpentine  dryer,  which  are 
the  best  known  ingredients,  excepting  such  colors 
that  cannot  be  made  from  lead  and  zinc. 

Lead,  when  used  alone  does  not  make  as  ser- 
viceable a paint  as  lead  and  zinc  ground  together 


47 


HINTS  FOR  PAINTERS  AND  DECORATORS 


in  pure  linseed  oil  and  colors.  Zinc  is  recog 
nized  as  an  indespensable  ingredient  in  paint. 
Lead,  while  quite  necessary,  is  likely  to  change 
when  used  alone  by  that  is  meant,  it  discolors 
easily,  and  when  exposed  to  the  air  chalks  off  and 
leaves  the  wood  exposed. 

Zinc,  which  is  a more  durable  metal,  retains 
its  whiteness  also  gives  to  colors  and  permits 
incorporating  the  largest  possible  quantity  of 
linseeed  oil,  thus  giving  life  and  durability  to 
the  paint.  A mixture  of  both  lead  and  zinc,  is, 
therefore,  necessary  to  obtain  best  results  to  re- 
sist light,  heat  and  cold. 


NEW  WORK 

To  secure  best  results,  new  work  should  have 
three  coats,  that  is  two  besides  the  priming  coat. 

Do  not  prime  or  apply  paint  to  a new  building 
until  plastering  is  thoroughly  dried  out. 


ADULTERATING  COLORS 
Do  not  imagine  that  the  durability  of  paint  is 
increased  by  the  use  of  whiting,  clay,  silica  and 
other  cheap  materials.  They  only  make  bulk  and 
trouble. 


AGGRAGATED  FORM  OF  CHECKING 
Avoid  “alligatoring,”  which  is  a form  of  check- 
ing and  frequently  caused  by  applying  finished 
coats  over  priming  or  second  coats  before  drying. 


SEEDY,  SPECKY,  SANDY  VARNISH 
You  may  find  varnish  to  be  full  of  small  grains. 
This  may  be  due  to  chill  in  transit  or  in  storage, 
or  a decided  difference  in  temperature  between 
the  varnish  and  the  work.  Allow  the  varnish  to 
reach  the  temperature  of  the  work  before  apply- 
ing. The  same  appearance  may  be  caused  by 
what  painters  term  a “lousy”  brush.  USE  ONLY 
AN  ABSOLUTELY  CLEAN  BRUSH. 


48 


HINTS  FOR  PAINTERS  AND  DECORATORS 


PAINT  FOR  STIPPLING 

For  rough  stipple,  mix  your  paint  from  equal 
parts  of  white  lead  in  oil,  zinc  white  in  oil  and 
dry  plaster  of  paris  (the  latter  of  the  finest 
grade).  Thin  down  with  raw  linseed  oil  and  tur- 
pentine in  equal  parts,  adding  two  teaspoonfuls 
of  pale  japan  to  each  pint  of  liquid.  Make  the 
paint  just  stout  enough  to  apply  with  a wall 
brush  and  put  it  on  in  that  consistency.  When 
the  surface  has  been  so  coated,  and  before  the 
paint  begins  to  set,  use  a good  size  stippler,  and 
see  that  you  do  the  ^ork  uniformly  and  evenly. 
You  can  color  the  white  to  any  desired  tint  with 
finely  powdered  dry  color  or  you  may  use  color 
ground  in  oil,  but  if  much  of  the  latter  is  re- 
quired, use  one-third  raw  oil  and  two-thirds  tur- 
pentine for  thinning.  When  solid  color  is  de- 
sired for  wall  stippling,  use  colors  ground  in  oil 
and  the  finest  bolted  whiting,  dry  to  make  stout 
paste.  Mix  in  this  paste  with  one  part  oil  and 
three  parts  turpentine  and  add  one  part  japan. 
When  the  paint  is  applied  in  stout  consistency,  it 
may  be  stippled  or  combed  and  very  pretty  effects 
are  obtained.  Before  applying  the  stipple  to  un- 
painted walls,  two  coats  of  pure  lead  in  oil  should 
be  given. 


GOOD  BRUSHES  GET  GOOD  RESULTS 

Keep  brushes  out  of  water.  When  paint  and 
varnish  brushes  are  not  in  use,  they  should  be 
suspended  in  raw  linseed  oil  away  from  the  bot- 
tom of  the  container  by  at  least  two  inches  and 
at  least  an  inch  above  the  bottom  ferrule  or 
strap.  Water  is  not  a paint  solvent.  When 
brushes  are  suspended  in  linseed  oil,  the  oil  will 
dissolve  the  pigment  which,  being  heavier,  will 
sink  to  the  bottom  of  the  container,  in  this  way 
cleaning  the  brush. 


49 


HINTS  FOR  PAINTERS  AND  DECORATORS 


Quantity  Needed. 

To  ascertain  the  number  of  gallons  of  paint 
required  for  a building: — add  the  width  of  front 
and  rear  with  the  length  of  both  sides,  and  mul- 
tiply by  the  height.  A gallon  of  paint,  proper- 
ly brushed  out,  will  cover  350  square  feet,  two 
coats.  Do  not  flow  the  paint  on,  but  thoroughly 
brush  it  on. 

By  dividing  the  total  feet  of  surface  by  350, 
you  will  obtain  the  number  of  gallons  necessary 
to  paint  the  house,  two  coats.  The  above  esti- 
mate, owing-  to  the  fact  that  surfaces  vary  in 
their  natures,  is  based  on  a surface  of  good  con- 
dition to  receive  the  paint. 


EXAMPLE 


Front 

Rear 

Side 

Side 


Multiply  by  average 
Height, 

Divide  by  350 


25  feet 
25  feet 
45  feet 
45  feet 


140  feet 
25  feet 

3500  feet— 10  gallons 


TO  REMOVE  RUST  STAINS  FROM 
CONCRETE  OR  STUCCO 

Rust  stains  can  be  removed  from  concrete  or 
stucco  work  by  scrubbing  the  spots  with  a solu- 
tion of  1 part  muriatic  acid  and  5 parts  water. 
When  using  this,  the  hands  should  be  well  pro- 
tected from  the  acid  as  it  is  very  strong,  and 
will  cause  severe  burns.  After  scrubbing  the 
concrete,  the  acid  must  be  well  rinsed  off  with 
clean  water. 


50 


HINTS  FOR  PAINTERS  AND  DECORATORS 


ALUMINUM  PAINT  MAKES  RADIATORS 
LESS  EFFICIENT 

The  aluminum  or  bronze  paint  generally  ap- 
plied to  radiators  greatly  reduces  their  effective- 
ness and  makes  it  necessary  to  have  a larger 
surface  for  the  same  heating  effect,  according  to 
experiments  performed  by  Dr.  W.  W.  Coblentz, 
of  the  Bureau  of  Standards.  Dr.  Coblentz  finds 
that  the  heat  radiated  from  an  aluminum  painted 
radiator  surface  is  less  than  a third  of  that  emit- 
ted by  a radiator  of  the  same  size  painted  with  a 
non-matellic  paint,  enameled,  or  simply  allowed 
to  rust. 

On  the  other  hand,  he  finds  that  aluminum 
paint  is  a very  effective  means  of  reducing  the 
amount  of  heat  transmitted  through  a thin  ma- 
terial. Applied  to  the  under  side  of  a tent  or 
awning,  it  reduces  by  three-fourths  the  amount  of 
heat  from  the  sun  which  gets  through  the  cloth, 
while  if  used  on  the  cover  of  an  automobile  or 
ice  wagon  it  cuts  in  half  the  heat  let  through  and 
makes  the  temperature  inside  the  vehicle  more 
nearly  that  found  in  natural  shade,  thereby  mak- 
ing it  much  more  comfortable. 


PAINT  AND  VARNISH  REMOVER 

Benzol  and  denatured  alcohol,  equal  parts  ap- 
plied to  a painted  or  varnished  surface,  will  eat 
through  to  the  bare  wood  in  less  than  ten  min- 
utes’  time. 


HOW  ENAMEL  IS  APPLIED  TO  METAL 
The  basis  of  all  enamels  is  an  easily  fusible, 
colorless  glass,  to  which  the  desired  color  and 
opacity  are  imparted  by  mixtures  of  metallic  ox- 
ides. The  mass,  after  being  fused  together  and 
cooled,  is  reduced  to  a fine  powder,  washed  and 
applied  to  the  surfaces  to  be  covered.  The  whole 
is  then  exposed  in  a furnace  till  the  enamel  is 
melted  when  it  adheres  firmly  to  the  metal. 


51 


HINTS  F OR  PAINTERS  AND  DECORATORS 


TO  RETARD  THE  DRYING  OF  PLASTER  OF 
PARIS  FOR  FIVE  HOURS 
Plaster  of  Paris  can  be  retarded  by  dissolving 
carpenter’s  glue  or  common  paste  in  the  mixing 
water.  To  retard  it  so  that  it  will  not  set  within 
five  hours  will  require  about  2 per  cent,  of  glue, 
the  percentage  being  based  on  the  weight  of  the 
plaster. 

CEMENT  PANEL  PAINT  FOR  BLACK- 
BOARDS 

If  you  prefer  to  mix  your  own  paint  for  ce- 
ment panel  blackboards,  use  drop  black  in  tur- 
pentine add  an  equal  weight  of  finest  powdered 
pumicestone  mixed  in  turps  and  hard  oak  finish, 
and  thin  with  enough  varnish  and  turpentine  to 
bind  it  hard. 


PAINTING  STUCCO 

In  painting  stucco,  the  following  instructions 
should  be  observed  After  brushing  thoroughly, 
prepare  for  the  priming  coat  by  mixing  one  part, 
by  weight,  of  white  lead,  red  lead,  and  boiled  oil. 
White  lead,  stainers  driers,  to  the  extent  of  one- 
fourteenth  of  the  mixture,  two  parts  boiled  oil, 
and  one  part  turpentine,  form  the  basis  for  the 
second  and  third  coatings.  Additional  coating 
should  contain  less  turpentine  in  proportion  to 
the  oil. 

A REMEDY  FOR  LOW  CEILINGS 

Rooms  with  low  ceilings  can  be  made  to  ap- 
pear much  higher  by  using  a striped  paper,  pref- 
erably in  a pale  tint. 


52 


HINTS  FOR  PAINTERS  AND  DECORATORS 


TO  REMOVE  PAINT  FROM  GLASS 
Common  washing  soda  dissolved  in  water;  let 
it  soak  a while — if  put  on  thick,  say  thirty  min- 
utes— then  wash  off.  If  it  does  not  completely 
remove,  give  it  another  application. 


CLEANING  PAINTED  WALLS 
Dissolve  two  ounces  of  borax  in  two  quarts  of 
water.  Add  one  teaspoonful  of  ammonia,  put 
half  this  mixture  into  a pail  of  water.  Use  no 
soap. 


A GOOD  WALLPAPER  VARNISH 
Dissolve  equal  parts  of  borax  and  shellac  in 
ten  times  their  weight  of  alcohol;  strain.  Give 
two  coats.  For  a very  light-colored  paper  use 
sandarac  instead  of  shellac.  Paper  treated  with 
this  lacquer  can  be  washed  with  water,  and  even 
with  soap,  if  necessary. 


LUMINOUS  PAINT  FORMULA 
Linseed  Oil  cold  compressed  and  thickened  by 
heat  3 oz.,  barium  sulphate  3 oz.,  prepared  cal- 
cium carbonate  3 oz.,  white  zinc  sulphide  6 oz., 
luminous  calcium  sulphide  18  oz.  Mix  well  and 
grind  in  a paint  mill,  very  fine. 


FIREPROOF  PAINT 

Incorporate  powdered  asbestos  into  paint  to  be 
used  on  sheds,  garages,  etc. 


TO  COLOR  CONCRETE 
Cinnabar  is  mixed  with  cement  to  produce  a 
bright  red  concrete  and  carmine  to  produce  a vio- 
let red. 

GREASE  SPOTS  ON  WALL  PAPER 
Grease  spots  can  be  removed  from  wall  paper 
by  rubbing  with  camphorated  chalk. 


53 


HINTS  FOR  PAINTERS  AND  DECORATORS 


FURNITURE  POLISH 

Oil  of  cedarwood  3 ounces,  turpentine  2 ounces, 
hydrochloric  acid  (commercial)  1 % ounces,  lubri- 
cating oil  (light)  1V2  ounces,  gasoline  1%  pint. 
Mix  the  turpentine,  lubricating  oil,  and  gasoline 
thoroughly  and  add  oil  of  cedarwood,  mixing 
thoroughly.  Now  add  the  hydrochloric  acid, 
stirring  briskly.  Allow  to  set  for  three  days, 
stirring  occasionally  until  hydrochloric  acid  is 
thoroughly  mixed.  INFLAMMABLE,  KEEP 
FROM  FIRE  OR  OPEN  FLAME.  Can  be  col- 
ored if  desired  (any  color)  by  adding  a small 
amount  of  soluble  color. 


FURNITURE  AND  AUTOMOBILE  POLISH 
(One  quart.) 

To  % of  paraffin  oil  add  two  tablespoonfuls  of 
turpentine  oil,  one  tablespoon  of  ammonia,  one 
tablespoontul  of  alcohol.  Add  enough  gasoline 
to  make  the  quart.  Keep  away  from  open  flame. 


WHITE  SPOTS  ON  A SHELLAC  SURFACE 

Restore  the  color  of  a shellac  surface  which 
has  become  white  in  spots  by  holding  a hot  iron 
over  the  spot. 

DUSTLESS  CONCRETE  FLOORS 

Paint  concrete  floors  several  coats  with  a mix- 
ture of  boiled  linseed  oil  mixed  with  gasoline, 
half  and  half. 


OLD  WIDE  SOFT  FLOORING  MADE  TO 
APPEAR  AS  HARDWOOD 

When  the  cracks  have  been  filled  and  floor  has 
been  stained  the  desired  color  grain  half  of  each 
board  differently.  Thus  the  wide  boards  appear 
narrow  by  graining  every  other  half.  It  re- 
sembles two  kinds  of  wood  dovetailed  together. 


54 


HINTS  FOR  PAINTERS  AND  DECORATORS 


AUTOMOBILE  POLISH 

This  produces  a fine  luster  that  does  not  collect 
dust  or  show  rain  streaks.  Although  not  a cheap 
polish,  it  is  less  costly  than  some  now  on  the 
market.  It  consists  of  V2  gal.  turpentine,  V2  pt. 
paraffin  oil,  2 oz.  oil  of  citronella,  and  1 oz.  cedar 
oil.  These  are  thoroughly  mixed,  applied  with  a 
soft  cloth,  and  rubbed  lightly  and  briskly  until 
dry. 


LIME  WHEN  NOT  IN  USE  IN  WHITEWASH 

Lime  will  lose  its  value  as  a whitewash  after 
long  exposure  to  the  air,  but  is  ideal  when  used 
as  fertilizer. 


TO  FROST  A PANE  OF  GLASS 

After  the  glass  has  been  painted  white,  and 
still  is  wet,  gently  tap  it  all  over  with  a soft 
cloth  which  has  been  wadded  into  a ball  or  puff. 


YELLOW  PIANO  KEYS 

To  clean,  a paste  made  from  whiting  and  a 
solution  of  potash  is  laid  on,  and  allowed  to  re- 
main for  twenty-four  hours.  The  ivories  will  be 
restored  very  nearly,  if  not  quite,  to  their  orig- 
inal color  without  removing  them  from  the  keys. 


PAINTING  ON  GLASS 

Paints  will  adhere  to  glass  better  if  colors  are 
ground  in  oil.  Thin  with  pale  japan  and  turpen- 
tine. 


REMOVE  INK  STAINS  FROM  WOOD 
Prepare  a mixture  of  8 ounces  of  concentrated 
sulphuric  acid  and  1%  pints  of  water.  Scour  the 
stain  thoroughly  with  water  and  sand  and  then 
pour  some  of  the  mixture  upon  it  and  rub  until 
the  stain  disappears. 


55 


HINTS  FOR  PAINTERS  AND  DECORATORS 


TO  CLEAN  SMOKED  OR  BLACKENED 
WALLS  AND  CEILINGS 

Wash  with  a cloth  wrung  out  of  a strong  solu- 
tion of  baking  soda  and  water  or  use  vinegar  and 
water.  If  the  stain  is  not  all  removed,  dissolve 
gum  shellac  in  alcohol  to  the  consistency  of  milk 
or  cream,  and  with  it  cover  the  sooty  parts.  Paint 
or  whitewash  over  the  shellac.  The  black  will 
not  show  through. 


COMMON  WHITEWASH 

Ordinary  whitewash  is  made  by  slaking  10  lbs. 
of  quicklime  in  2 gals,  of  water.  The  lime  is 
placed  in  a pail,  the  water  added,  and  the  bucket 
covered  with  a piece  of  old  carpet,  or  an  old  bag, 
and  allowed  to  stand  for  about  an  hour;  the 
whitewash  is  then  ready  for  application. 


WEATHERPROOF  WHITEWASH 

For  exterior  use,  a weatherproof  limewash  is 
made  by  slaking  1 bu.  (62  lbs.)  of  quicklime  in 
15  gal.  of  water.  A solution  consisting  of  2 lbs. 
of  ordinary  salt  and  1 lb.  of  zinc  sulphate,  dis- 
solved in  2 gals,  of  boiling  water,  is  prepared, 
and  2 gals,  of  skim  milk  is  provided.  The  salt 
and  zinc-sulphate  solution  is  added  to  the  lime 
and  water,  the  skim  milk  being  put  in  last. 


LINOLEUM  CEMENT 

A mixture  of  glue,  isinglass  and  dextrin,  which 
dissolved  in  water  and  heated,  is  given  an  admix- 
ture of  turpentine.  The  strips  pasted  down  must 
be  weighted  with  boards  and  brick  on  top  until 
the  adhesive  agent  has  hardened. 

WEIGHT  OF  PAINT 

Good  paint  weighs  18  pounds  and  upwards  to 
the  gallon.  Ordinary  paint  w eighs  15-16  pounds. 


56 


HINTS  FOR  PRESSMEN 


COVER  WHITE 

When  cover  white  is  too  short  or  stiff  to  be 
workable,  add  a small  amount  of  mixing  white. 


PROCESS  COLOR  PRINTING 

For  the  very  best  results  in  this  fascinating 
art,  print  the  lighter  colors  first,  as  follows:  Yel- 
low, red,  blue  and  black  unless  otherwise  instruct- 
ed by  the  engraver. 

When  dark  colors  are  run  first  contrary  to  pro- 
gressive proof,  the  full  richness  and  detail  are 
lost  and  hues  altered.  Light  colors  printed  over 
the  dark  detail,  modify  and  subdue  the  sharpness 
which  is  not  always  desirable. 

Use  opaque  yellow  for  the  first  color  when 
printing  on  tinted  stock;  follow  with  transparent 
colors. 


GOLD  SIZE  FOR  BRONZE  POWDER 
All  pigment  that  enters  into  the  manufacture 
of  gold  size  must  be  earthen.  Yellow  ocher  is 
admirably  adapted  for  this  purpose,  as  in  hue  it 
ranges  from  a pale  yellow  to  light  brown.  It  is 
insoluble  in  oil  and  will  not  dull  the  luster  of 
bronze  powder  or  bleed  through. 

Gold  size  for  pale  gold  bronze  should  be  pale 
yellow;  for  deep  rich  gold  bronze  use  medium 
light  orange  brown  size. 

Deep  rich  gold  when  applied  over  pale  yellow 
size  produces  a medium  gold  cast. 


STREAKING  AND  SHADOWS 
Streaking  or  shadows  which  occur  when  run- 
ning heavy  solids,  can  oftimes  be  overcome  on 
three  roller  platen  presses  by  using  a steel  vi- 
brator, also  expansion  trucks  which  trip  third 
roller.  If  expansion  trucks  are  not  available  use 
vibrator  and  remove  third  roller,  as  in  most  cases 
this  roller  is  causing  the  trouble. 


Coach  varnish  adds  lustre  to  printers’  ink. 


57 


HINTS  FOR  PRESSMEN 


MOTTLING  AND  PICKING 

Mottling  of  printers’  ink  is  largely  due  to  an 
over-abundance  of  reducer,  which  separates  the 
pigment  from  the  mordant.  This  difficulty  is 
sometimes  overcome  by  adding  silicate  of  soda 
(water  glass),  magnesia,  etc.  These  absorb  some 
of  the  superfluous  oil  and  force  the  pigment  into 
a solid  mass. 

Reducing  to  eliminate  picking  is  the  principal 
cause  of  mottle.  Before  mixing  reducer  with  ink, 
add  a little  soft  ink,  such  as  halftone;  if  straight 
halftone  picks,  add  00  varnish. 

Inks  are  made  for  all  purposes.  Best  results 
are  obtained  by  using  them  without  adulteration. 
Oftentimes  a drop  or  two  of  linseed  oil  distributed 
on  press  will  do  the  trick.  If  ink  mottles  from 
the  start  with  no  other  inks  at  hand,  use  less  ink 
and  double  roll. 

Picking  and  mottling  on  platen  presses  is  more 
prevalent  than  on  cylinders.  The  reasons  are  ob- 
vious The  cylinder  requires  less  ink,  has  ample 
distribution  and  the  printed  sheet  is  peeled  from 
the  form. 

Every  printing  press  has  its  capacity.  You  can 
not  successfully  print  a solid  oversize  form  just 
because  it  can  be  locked  in  a platen  chase.  Even 
with  a good  vibrator,  this  kind  of  form  requires 
double  or  triple  rolling.  Taking  into  considera- 
tion the  fact  that  friskets  jerk  printed  sheet  from 
the  form,  you  need  not  look  farther  for  the  cause 
of  picking. 

By  cutting  stock  two  or  more  up,  and  inking 
form  the  narrow  way  with  enough  of  the  sheet 
to  be  printed  protruding  for  a good  hand  hold, 
you  can  peel  it  from  the  form.  Do  not  allow 
friskets  to  touch  the  sheet. 

WASH  FOR  DIRTY  TYPE  OR  CUTS 

Crude  carbolic  acid  and  turpentine,  equal  parts. 
Let  stand  over  night.  Rinse  off  with  gasoline. 


58 


HINTS  FOR  PRESSMEN 


Color  Printing — Some  very  pretty  effects  are  ob- 
tained by  printing  transparent  yellow  and  crimson 
or  scarlet  over  black.  The  black  being  so  modified 
as  to  yield  greenish  hues  under  yellow  and  purple 
hues  under  red. 


GENERAL  PURPOSE  GLUE 
Always  Ready  for  Use. 

Fill  a quart  glass  jar  with  good  broken  glue ; 
then  fill  up  with  acetic  acid  (which  is  vinegar  in  a 
strong  form)  ; set  jar  in  hot  water  for  a few  hours 
to  dissolve. 


PADDING  GLUE  (any  color)  FOR  PRINTERS 
Requires  no  heating. 

In  addition  to  the  above  formula  purchase  ten 
cents’  worth  of  analine  (any  color  desired)  from 
your  druggist,  dissolve  this  in  two  ounces  of 
glycerine.  Then  stir  all  together.  The  glycerine 
keeps  the  glue  flexible  and  prevents  cracking.  This 
formula,  in  print  for  the  first  time,  means  the 
saving  of  a great  many  dollars. 


MIXING  GLASS 

Before  mixing  colors  on  glass,  glue  or  lay  a 
sheet  of  white  paper  to  the  back.  Or  paint  it 
white. 


WHEN  TO  USE  OPAQUE  PROCESS  INK 
When  printing  process  colors  on  tinted  stock, 
use  an  opaque  yellow,  follow  with  transparent 
colors. 


PROTECTIVE  VARNISH  FOR  PRINTERS’ 
PLATES 

Printing  plates,  especially  etchings  which  are 
chiefly  composed  of  zinc,  may  be  kept  free  from 
corrosion  by  dipping  or  painting  with  a liquid 
solution  of  gum  arabic,  which  is  soluble  in  water. 


59 


MISCELLANEOUS 


BLACK  AND  WHITE  AS  COLORS 

Figuratively  speaking  black  and  white  are 
colors  but  technically  they  are  not.  Pigments 
that  are  jet  black  and  pure  white  either  vege- 
table or  mineral  are  unknown.  It  takes  the  ad- 
dition of  blue  to  alter  the  yellowish  cast  of 
white,  and  blue  to  deepen  the  brownish  cast  of 
any  so  called  black  pigment. 

White  being  a neutral  color,  will  harmonize 
with  most  any  color  combination. 


NEUTRAL  HUES  AND  TINTS 

Neutral  hues  are  made  by  a 50-50  mixture  of 
warm  and  cold  colors.  White  added  to  neutral 
hues  produce  neutral  tints. 


Whiting— Chalk  pulverized  and  freed  from  im- 
purities. 


VARNISH  FOR  THE  BACK  OF  SILVERED 
MIRRORS 

Dammar  gum,  20  parts;  asphalt,  3 parts; 
gutta-percha,  5 parts;  benzol,  75  parts;  mix  and 
dissolve.  To  use  this  varnish,  pour  it  over  the 
silvered  surface  and  move  the  plate  back  and 
forth  until  it  is  distributed  evenly  over  the  sur- 
face. 


Soft  toned  (flat  finish)  colors  and  tints  are  very 
desirable  in  the  modern  home.  The  flat  or  dull 
finish  prevents  the  reflection  of  light,  and  makes 
a desirable  back  ground  for  pictures  and 
draperies. 


COLOR  IN  SOAP  BUBBLES 
The  beautiful  colors  of  an  ordinary  soap  bubble 
are  caused  by  light  shining  through  the  thin  fila- 
ment and  being  reflected  from  its  inner  surface. 


60 


MISCELLANEOUS 


INVISIBLE  WRITING  INK 
Dissolve  two  teaspoonfuls  of  white  sugar  in 
half  cup  full  of  boiling  water.  Write  in  the  ordb 
nary  manner.  Holding  to  the  fire  will  cause  the 
saccharine  to  turn  brown. 


INK  FOR  RUBBER  STAMP  PADS 
Dissolve  ten  cents’  worth  of  red  analine  (or  any 
other  color)  in  two  ounces  of  glycerine  and  apply 
to  stamp  pad  with  stiff  brush ; smooth  it  on  as 
evenly  as  possible. 


FRESHEN  RUBBER  STAMP  PADS 
To  freshen  up  old  rubber  stamp  pads,  scrape  sur- 
face of  pad  with  a dull  knife  or  edge  of  stiff  card- 
board to  remove  dust.  Then  apply  clear  glycerine. 
Pad  is  now  almost  as  good  as  new. 


BLACK  TRACING  PAPER 
Lamp  black  mixed  with  cold  lard  to  the  consist- 
ency of  thick  paste.  Apply  to  thin  paper  with  a 
piece  of  cloth.  Then  take  a flannel  cloth  and  rub 
until  the  color  ceases  to  come  off.  If  red  is  de- 
sired use  Venetian  red.  For  blue  use  Prussian  blue, 
and  for  green  use  chrome  green. 


COMMON  BLACK  WRITING  INK 
One  ounce  extract  of  logwood  ; pour  over  it  two 
quarts  of  boiling  soft  water.  When  dissolved  add 
one  drachm  of  yellow  chromate  of  potassa.  Put  in 
clean  bottles.  This  formula  will  cost  about  15 
cents. 


EVERLASTING  BLACK  WRITING  INK 
Two  gallons  of  rain  water,  % pound  gum  arabic, 
% pound  copperas,  % pound  powdered  nut-galls.  Vi 
pound  of  brown  sugar.  Bruise  all  and  mix.  This 
is  valuable  for  copying  deeds,  etc.,  as  it  will  last  for 
hundreds  of  years.  Shake  the  mixture  occasionally 
for  the  first  ten  days,  then  it  is  ready  for  use. 


61 


MISCELLANEOUS 


PAINTING  WATER-COLORS  ON  PARCH- 
MENT SHADES 

To  prevent  water-color  paints  and  india  inks 
from  crawling  on  the  greasy  surface  of  parch- 
ment, rub  gently  with  finely  powdered  pumice, 
using  a soft  cloth  or  cotton.  Pulverized  emery 
is  equally  efficient. 


TO  COLOR  FLOWERS 
One  method  of  coloring  flowers  is  to  cut  them 
with  long  stems  and  let  them  stand  for  awhile 
in  water  containing  dye  of  the  desired  color. 
There  are  some  species  of  dry,  strawlike  flowers, 
which  are  merely  dipped  in  dye. 


TO  TURN  A HYDRANGEA  BLUE 
It  is  claimed  that  putting  a couple  of  lumps  of 
alum  at  the  roots  of  the  hydrangea  will  cause  it 
to  turn  blue. 


DRAWING  PAPER  MADE  TRANSPARENT 

To  render  ordinary  drawing  paper  transparent 
for  tracing  purposes,  sponge  paper  with  a solu- 
tion of  2 parts  absolute  alcohol  to  1 of  castor  oil. 

The  alcohol  soon  evaporates  and  tracing  paper 
is  ready  for  use.  Drawing  or  tracing  may  be 
made  with  india  ink  or  lead  pencil. 

Restore  paper  to  its  original  state  by  immers- 
ing in  absolute  alcohol. 


DRIER  FOR  PAINTS  ON  PARCHMENT 
LAMP  SHADES 

Japan  drier  is  used  almost  exclusively  as  a 
paint  medium  for  coloring  parchment  lamp 
shades.  Pale  Japan  is  almost  colorless  and  will 
not  alter  hues. 

TO  CLEAN  SOILED  PHOTOGRAPHS 
Lightly  sponge  with  cotton  dipped  in  alcohol. 


62 


MISCELLANEOUS 


TO  OXIDIZE  COPPER  AND  BRASS 

A solution  for  oxidizing  copper  or  brass  is  com- 
posed of  2 ounces  of  nitrate  of  iron  and  2 ounces 
of  hyposulphite  of  soda  to  1 pint  of  water.  Im- 
merse the  article  until  the  desired  shade  is  ac- 
quired: then  wash,  dry  and  brush. 


GREASE  AND  PAINT  REMOVER 

Oil  of  turpentine,  fluid  oz.  5;  water  of  am- 
monia, fluid  oz.  4;  wood  alcohol,  fluid  oz.  5;  ether 
drops  25,  acetic  acid,  fluid  dr.  4;  water,  fluid  oz. 
5.  Apply  a little  to  stained  parts  with  a brush, 
rubbing  briskly  for  a moment  or  two.  Rinse  out 
with  clear  ater. 


TO  REMOVE  OIL  STAINS  FROM  LEATHER 

Dab  the  spot  carefully  with  spirits  of  sal  am- 
moniac, and  after  allowing  it  to  act  for  awhile, 
wash  with  clean  water.  This  treatment  may  have 
to  be  repeated  a few  times,  taking  care,  however, 
not  to  inure  the  color  of  the  leather. 


BLEACHING  TALLOW 

Dissolve  alum,  five  pounds,  in  water,  ten  gal- 
lons, by  boiling;  and  when  it  is  all  dissolved,  add 
tallow,  twenty  pounds.  Continue  the  boiling  for 
one  hour,  constantly  stirring  and  skimming. 
When  sufficiently  cool  to  allow  it,  strain  through 
thick  muslin;  then  set  aside  to  harden.  When 
taken  from  the  water,  lay  it  by  for  a short  time 
to  drip. 


WHEN  LEATHER  BECOMES  STICKY 

Either  sponge  the  leather  thoroughly  with  a 
mild  suds  of  borax  soap,  and  when  perfectly  dry, 
apply  thin  coat  of  white  shellac,  or  else  clean  the 
leather  with  some  solvent  such  as  gasoline. 


63 


MISCELLANEOUS 


COMMON  BLUE  WRITING  INK 

Sulphate  of  indigo  and  soft  water.  Color  to 
suit. 


WATER  PROOFING  PAPER 

Dissolve  2 parts  of  borax  and  2 parts  of  shellac 
in  2 parts  of  water,  and  strain  through  a fine 
cloth.  With  a brush  or  sponge  apply  this  to  the 
surface  of  the  paper,  and  when  it  is  dry,  polish 
it  to  a high  gloss  with  a soft  brush. 


TO  MAKE  ORNAMENTAL  GRASSES  GLISTEN 

Make  a brine  by  boiling  one  quart  of  common 
salt  in  IV2  quarts  of  water  for  fifteen  minutes. 
Tie  bunches  of  ornamental  grasses  together  and 
pour  the  solution  over  them  while  it  is  hot. 
Place  in  a dark  room  or  cellar,  where  it  will  not 
be  disturbed  and  allow  the  grasses  to  stand  for  24 
hours,  then  lift  them  out  and  hang  them  up  to 
dry.  In  a few  hours  they  will  be  white  and 
glistening. 


INDELIBLE  MARKING  INK 

100  grains  nitrate  of  silver,  1 ounce  distilled  wa- 
ter, 2 drachms  gum  arabic,  1 scruple  of  indigo. 
Thoroughly  mix. 


EYE  STRAIN 

Eye  strain  can  be  eliminated  while  printing 
yellow  forms  under  artificial  light  by  using  blue 
eye  glasses.  This  causes  the  yellow  to  appear 
green. 


64 


MARBLIZING 


Marbling  Show  Cards,  Backgrounds  For  Photo 
Engravers,  Lampshades,  Box  Tops, 

Paper,  Etc. 


Halftone  illustrates  three  different  cards 
marbled  and  cut  to  form  a diamond  shape.  Pro- 
cess is  fully  described  in  the  following  pages. 


FRENCH  OCHRE 

16  parts  deep  chrome  yellow,  4 parts  medium 
purple  and  4 parts  bright  red. 


HINTS  FOR  ARTISTS 


MARBLIZING 

Marbling  Show  Cards,  Backgrounds  For  Photo 
Engravers,  Lampshades,  Box  Tops 
Paper,  Etc. 


Very  little  practice  is  required  in  this  most 
fascinating  art. 

1.  Thin  any  oil  paint  or  printer’s  ink  to  the 
consistency  of  water  with  turpentine,  gasoline  or 
kerosene,  any  number  of  colors.  Mix  each  sep- 
arately. 

2.  Fill  a pan,  wash  basin,  or  bath  +ub  two- 
thirds  full  with  water.  Size  of  vessel  to  be  de- 
termined by  size  of  card  to  be  marbled. 

3.  A teaspoonful  or  more  of  each  color  which 
will  readily  float  on  the  water  is  the  next  step. 
(See  Fig.  1.)  A little  black  used  along  with 
certain  colors  produce  very  satisfactory  results. 

4.  With  your  hand  or  paddle  agitate  the  mix- 
ture of  water  and  color  and  before  the  turbulent 


65 


HINTS  FOR  ARTISTS 


MARBLIZING 

waves  subside,  immerse  card  face  down  (See 
Fig.  2)  being  careful  to  wet  entire  surface. 

To  avoid  air  pockets  (wide  open  colorless 
spaces)  bend  card  or  paper  slightly  as  shown  in 
figure  2.  Mottled  marble  effects  are  obtained 
when  waves  are  nearly  settled  or  quite  still. 

The  coloring  adheres  to  the  sheet  instantly 
and  it  is  needless  to  hold  it  under  water.  Colors 


will  run  if  used  in  excessive  quantity  or  failure  to 
thin  enough.  If  air  pockets  form,  wait  until 
thoroughly  dry  before  redipping  in  solution. 

White  oil  paint  or  printer’s  ink  may  be  mixed 
with  colors  to  form  tints  before  same  is  thinned. 
More  thinning  of  colors  also  make  lighter 
shades. 

Over  painting  on  these  backgrounds  should  be 
66 


HINTS  FOR  ARTISTS 


MARBLIZING 

executed  with  color  ground  in  Japan  to  better 
adhere  to  the  slightly  greasy  surface. 

Show  card  writers  may  obtain  rather  unique 
effects  with  the  following: 

On  a blank  card  paint  or  draw  all  or  part  of 
the  lettering  and  border  with  show  card  writer’s 
white  which  is  soluble  in  water. 

When  thoroughly  dry  dip  into  marbling  solu- 
tion as  has  been  previously  described,  when  dry, 
place  in  running  water  until  all  show  card  writ- 
er’s white  is  washed  free.  A clean  soft  brush 
will  help  loosen  it. 

The  marbling  colors  should  be  a trifle  darker 
with  less  agitation.  The  darker  background  will 
help  show  to  better  advantage  the  pure  white 
border  and  lettering. 

White  material  is  best  for  marbling.  White,  a 
neutral  color  will  not  alter  the  various  colors 
and  tints  applied  in  this  process.  However,  col- 
ored board  may  be  used  to  good  advantage  for 
certain  purposes. 


07 


HINTS  FOR  ARTISTS 


DRAWINGS  RESEMBLE  PRINTING 

To  Make  Drawings  Resemble  Printing — Black 
and  White  or  a Variety  of  Colors 


First — Make  light  pencil  sketch  of  subject  on 
any  good  paper  or  cardboard  such  as  is  used 
when  water  colors  are  employed.  Outline  all  high 
lights  and  other  portions  which  are  to  remain 
white. 

Second — With  brush  or  pen  fill  in  all  high 
lights  and  other  portions  which  are  to  remain 
white  with  show  card  writer’s  white,  which  is 
soluble  in  water,  and  let  dry. 

Third — Partly  fill  any  shallow  tray  or  dish 
with  (water  proof)  ink,  black  or  colored,  if  de- 
sired. Now  dip  drawing  and  let  dry. 


68 


HINTS  FOR  ARTISTS 


DRAWINGS  RESEMBLE  PRINTING 

Fourth — When  black  or  colored  water  proof 
inks  are  thoroughly  dry  place  into  running  water 
until  the  white  is  washed  free  from  drawing, 
exposing  the  clean  surface  of  material.  Place 
between  blotters  which  have  been  weighted  and 
let  dry. 

With  this  process  your  drawings  can  show  no 
brush  marks.  The  solids  will  remain  smooth 
and  dense  as  though  printed.  If  plates  for 
printing  purposes  are  to  be  made  from  drawings, 
you  will  obtain  splendid  clean  cut  results  by 
using  this  dipping  process. 

Show  card  writer’s  white  and  (water  proof) 
black  or  colors  may  be  obtained  at  any  art  shop. 


69 


HINTS  FOR  ARTISTS 


SPATTER 


Most  everyone  is  familiar  with  spatter  work. 
Shading  and  background  effects  for  drawings, 
show  cards,  art  candles,  etc.,  may  be  treated 
with  spatter  in  one  or  more  colors. 

Color  in  the  form  of  fine  dots  is  thrown  upon 
the  unprotected  portions  of  material  by  rubbing 
the  inked  bristles  of  a brush  on  a sieve  or  with 
a knife  blade. 

Necessary  materials:  India  or  common  writ- 

ing ink,  a tooth  brush,  pocket  knife,  rubber 
cement,  cardboard  and  some  thin  transparent 
tracing  paper.  The  latest  and  most  effective 


70 


HINTS  FOR  ARTISTS 


SPATTER 

method  is  to  spatter  through  a sieve,  with  a 
round  medium  stiff  brush  as  shown  in  the  accom- 
panying illustration. 

With  point  of  knife  cut  out  letters  which  are 
traced  from  painted  show  card  and  paste  with 
rubber  cement,  or  weight  with  small  objects  to 
prevent  color  from  running  under  the  edges, 
directly  on  the  face  of  each  corresponding  letter 
and  apply  spatter.  Remove  these  masks  when 
the  work  has  dried. 

High  lights  may  be  added  to  spatter  drawings 
with  touches  of  Chinese  or  show  card  writers 
white  with  a pencil  brush. 

Gold  ink  spatter  shows  well  on  dark  materials; 
white  is  effective  on  black  material.  Pleasing 
backgrounds  are  produced  by  thinly  covering 
material  with  rice,  flax  seed,  leaves,  sawdust,  etc. 
Apply  spatter  and  let  thoroughly  dry  before  dis- 
turbing to  prevent  smearing. 


71 


INDEX 


Art  of  Color  Mixing 4 

Altering  Color  5 

Color  Chart  

Color  Blindness  5 

Color  Harmony 7 

Color  Mixtures  28 

Color  Mixtures  by  Parts 21 

Complimentary  and  Harmonious  Color  Com- 
binations   18 

Colors  as  Seen  by  Individuals 27 

Extremes  of  Warm  and  Cold 4 

Good  Greens  41 

Hints  for  Artists  65 

Hints  for  Painters  and  Decorators 47 

Hints  for  Pressmen 57 

Meaning  of  Colors  3 

Matching  Special  Colors 9 

Miscellaneous  Colors  by  Parts 44 

Miscellaneous  60 

Nature’s  Color  Chart  6 

Origin  and  Definition  of  Colors 10 

Pigment  6 

Tint  Mixing  8 

Tint  Mixtures  by  Parts 24 

Two  Color  Mixtures  by  Parts 41 

What  Is  Color 3 

Warm  and  Cold  Colors 3 


BUSTANOBY’S  HOW  TO 
MIX  COLORS 

By  JACQUES  H.  BUSTANOBY 

A new  practical  book  by 
a color  expert,  for  stu- 
dents,  artists,  dyers,  deco- 
rators, show  card  writers, 
painters,  printers,  press- 
men, etc.,  to  assist  them 
in  mixing  oil  colors  to 
obtain  standard  and  popu- 
lar hues  in  as  permanent 
and  practical  manner  as 
possible.  Great  thought 
has  been  given  to  the  per- 
manency of  the  resultant 
colors.  It  takes  the  guess  work  out  of  color 
mixing. 

The  book /gives  also  the  results  of  tests  for 
the  most  legible  contrasts  of  color  for  show 
cards,  posters,  billboards  and  large  outdoor  ad- 
vertising display  signs — 60  of  them. 

This  book  is  4 x 7 inches  in  size,  contains 
112  pages  with  colored  frontispiece  and  406  for- 
mulas for  268  colors  and  shades,  is  built  to  fit  the 
pocket  readily,  and  is  bound  in  heavy  paper  covers. 
Sent  postpaid  upon  receipt  of  Price,  $1.00. 


J.  S.  OGILVIE  PUBLISHING  CO. 

>7  Rose  Street,  New  York,  N.  Y. 


THE  MIXING  OF  COLORS 
AND  PAINTS 

By  F.  N.  VANDERWALKER 

Editor  of  “The  American  Painter  and 
Decorator,”  Author  of  “Automobile 
Painting,”  “Estimates  and  Profits,” 

“New  Stencils  and  Their  Use,”  etc. 

This  book  will  be  found 
useful  to  all  who  mix  colors 
or  paints  as  it  is  very  com- 
plete. Some  of  the  chapter 
headings  follow:  Color  and 

Light;  Description  of  Color 
Pigments;  Properties  of  Color 
Pigments;  How  Colors  Are 
Prepared  for  the  Trade;  Basic 
Paint  Pigments;  Painting 
Oils;  Volatile  Thinners  and 
Driers;  General  Paint  Mixing 
Methods;  Color  Theory,  Prin- 
ciples and  Use;  Colored  Paint 
Mixing  Methods;  Mixing  Spe- 
cial Purpose  Materials;  Color  Harmony  and 
Management;  Selecting  Color  Schemes;  Printing 
Inks. 

The  book  contains  292  pages,  illustrated  with 
line  drawings  and  color  chart.  Bound  in  cloth, 
size  5x7%  in.  Price,  $2.25  postpaid. 


J.  S.  OGILVIE  PUBLISHING  CO, 

57  Rose  Street,  New  York,  N.  Y. 


PRACTICAL  COLOR 
SIMPLIFIED 

By  WILLIAM  J.  MISKELLA,  M.E. 


This  book  answers  many  vexing-  questions  that 
come  up  unexpectedly  every  day — the  little  technical 
puzzlers  that  harass  and  hinder  you  most.  It  con- 
tains a wealth  of  information  written  in  understand- 
able form  for  the  novice  as  well  as  the  experienced 
user  of  colors. 

The  Color  Chart  alone  is  well  worth  the  price  of 
this  entire  book.  It  consists  of  three  sections  which 
tell  how  to  select  warm  and  cool  colors,  mix  colors 
to  get  any  tint  or  shade,  harmonize  colors  and  avoid 
color  discord.  Twenty-five  individual  colors  appear 
in  the  chart,  all  applied  by  hand  with  lacquer  to  a 
cloth  backed  sheet  that  cannot  be  easily  damaged. 
Mounted  on  it  are  the  pivoted  triangle  and  the  arrow, 
both  white  celluloid,  by  the  use  of  which  color  mixing, 
matching  and  harmonizing  are  simplified. 

Four-page  Descriptive  Circular  Sent  cn  Request 
This  book  contains  113  pages,  illustrated  in  colors, 
bound  in  cloth,  and  will  be  sent  postpaid  upon 
receipt  of  PRICE  $3.75 

J.  S.  OGILVIE  PUBLISHING  CO. 

57  ROSE  STREET,  NEW  YORK,  N.  V. 


THE  THEORY  AND  PRACTICE 
OF  COLOR 

By  Bonnie  E.  Snow  and  Hugo  B.  Froehlich 


Chapter 

Chapter 

Chapter 

Chapter 

Chapter 

Chapter 

Chapter 

Chapter 

Cnapter 

Chapter 

Chapter 

Chapter 

Chapter 


“A  Key  to  the  World  of  Color” 

Table  of  Contents 

I A World  of  Color. 

II  The  Source  of  Color. 

III  The  Primary  Colors  and  Their 

Uses  in  Design. 

IV  The  Binary  Colors  and  How  to  Use 

Them. 

V Color  Values:  Tints  and  Shades. 

VI  Complementary  Colors  and  How  to 

Use  Them. 

VII  Neighboring  or  Analogous  Colors. 

VIII  The  Color  Triad  and  the  Split 

Complement. 

IX  Colors  in  Various  Degrees  of  In- 

tensity— or  Grayed  Colors. 

X Psychology  of  Color. 

XI  Color  Harmonies  in  Costume. 

XII  Color  Harmonies  in  Interior  Deco- 

rations. 

XIII  Color  in  Commercial  Design. 


Learn  the  Correct  Use  of  Color — Simply,  Clearly,  Scientifically. 
Enjoy  Color  Most  by  Using  It  Best 


The  Theory  and  Practice  of  Color  is  a book  size 
8 x 10  inches  and  contains  60  pages  with  nine 
full-page  hand-painted  color  charts  which 
clearly  illustrate  the  Color  Theory. 

Price,  Postpaid,  $4.50 


J.  S.  Ogilvie  Publishing  Company 

57  Rose  Street,  New  York,  N.  Y. 


HOW  TO  PAINT  SIGNS 

AND 

SHO’  CARDS 

By  E.  C.  MATTHEWS 

An  up-to-date  book  con- 
taining a complete  course  of 
instruction.  Illustrated  with 
over  100  alphabets  and  de- 
signs, and  written  in  plain 
English  that  everyone  can 
understand  and  thus  learn  to 
paint  good  signs.  Also  suit- 
able for  commercial  artists  or 
anyone  who  has  occasion  to 
do  hand  lettering. 

Table  of  Contents  : Introduction.  Alpha- 
bets. Composition.  Color  Combinations.  How 
to  Mix  Paints.  Show  Cards.  Window  Signs. 
Banners.  Board  and  Wall  Signs.  Keady 
Made  Letters.  Gilding.  The  Silk  Screen 
Process.  Commercial  Art,  Tricks  of  the 
Trade. 

This  hook  contains  128  pages  with  100  illus- 
trations, including  25  full  page  illustrations, 
is  bound  in  cloth,  with  jacket  printed  in  colors. 
Price,  $1.25  Net.  Postage  10  cents  additional. 


Learn  How  to  MAKE  MONEY 
as  a COMMERCIAL  ARTIST 
or  CARTOONIST 

Have  yon  ever  wished 
that  you  were  the  one 
who  made  comic  draw- 
ings for  the  Daily  and 
Sunday  Newspapers, 
and  received  the  enor- 
mous salary  that  some  of 
those  artists  make? 

Or  have  you  wanted 
io  draw  illustrations  for 
books,  magazines,  cover 
designs,  posters,  car  cards,  advertisements, etc.  ? 

If  you  have,  and  still  want  to  do  so,  don’t 
fail  to  get  the  book. 

COMMERCIAL  ART  and  CARTOONING 

By  E.  C.  MATTHEWS 

Author  of  the  book  “How  to  Paint  Signs  and 
Sho’  Cards” 

This  book  contains  a practical  course  designed 
to  lead  you  from  the  simplest  elementary  drawing 
to  the  higher  branches  of  illustration  and  is  more 
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It  contains  122  pages,  12  chapters  with  over  125 
illustrations,  size  hy2  x 7%  inches,  printed  on 
coated  paper  and  bound  in  cloth.  Price  $1.25. 
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57  ROSE  STREET  NEW  YORK 


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^Ogilvie 
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57  Rose  St.,  New  York 


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